THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


The  Labyrinth 


THE   LABYRINTH 

[LE  DEDALE] 

A  PLAY  IN  FIVE  ACTS 
BY 

PAUL  HERVIEU 


AUTHORIZED  TRANSLATION 
BY  BARRETT  H.  CLARK  AND 
LANDER  MAC  CLINTOCK 


NEW   YORK     ::     B.  W.   HUEBSCH      ::     1913 


ALL    RIGHTS    OF    REPRESENTATION 
RESERVED     FOR     ALL     COUNTRIES 

COPYRIGHT    1903    BY   PAUL    HERVIEU 
COPYRIGHT    1913    BY    B.  W.   HUEBSCH 

PRINTED    IN    U.    8.    A. 


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a  an  5 

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T0 

MADAME    JULIA   BARTET 

RESPECTFUL    HOMAGE 
OF  THE  MOST  PROFOUND  ADMIRATION 

P.  H. 


Paul  Hervieu 

PAUL  HERVIEU  was  born  at  Neuilly  on  the  Seine, 
September  2,  1857.  His  early  education  was  of  a 
fragmentary  character  for,  entering  the  Lycee 
Bonaparte  at  Paris  in  1869  he  was  soon  forced, 
on  the  breaking  out  of  the  war  of  1870,  to  leave 
for  Dieppe.  From  that  city  he  attended  in  turn, 
and  for  short  periods  only,  schools  in  Boulogne- 
sur-mer,  then  Fontainebleau,  and  finally  returned 
to  Paris,  to  the  Lycee  Condorcet.  After  the  com- 
pletion of  his  preliminary  studies,  he  became  a  stu- 
dent in  the  Law  School,  from  which  he  was  grad- 
uated in  1881,  and  entered  the  office  of  a  law  firm. 
Appointed  secretary  to  the  Mexican  Embassy,  he 
refused,  preferring  to  remain  and  take  charge  of 
the  Republicain  de  Seine-et-Marne.  In  1882  Her- 
vieu's  first  book,  Diogene-le-Chien  appeared.  Guy 
de  Maupassant  praised  it  highly  and  predicted 
that  the  author  would  "soon  be  known."  From 
this  time  on,  Hervieu  contributed  articles,  sketches, 
and  stories  to  the  daily  newspapers ;  a  number  of 
these  appeared  later  in  book  form.  Between  the 
years  1881-1896,  he  wrote  numerous  novels  and 
further  sketches:  La  Betise  parisienne  (1884); 
Les  Yeux  verts  et  les  Yeux  bleus  (1887);  L'ln- 
connu  (1887);  Les  Deux  Plaisanteries  (1889); 
Flirt  (1889)  J  L'Exorcisee  (1891)  ;  Feints  par  Eux- 
memes  (1894);  L 'Armature  (1895);  Le  Petit  Due 
(1896).  His  first  play,  Point  de  Lendemain,  & 
1 


8  PAUL   HERVIEU 

one-act  adaptation  of  a  story  by  Vivant  Denon, 
was  produced  in  1890.  Alphonse  Daudet  it  was 
who  suggested  the  writing  of  the  next  play;  this 
was  Les  Paroles  Restent,  a  "dramatic  comedy"  in 
three  acts;  it  was  first  seen  on  the  boards  of  the 
Vaudeville  (Paris),  in  1892.  Three  years  later 
the  young  dramatist  achieved  his  first  considerable 
success:  Les  Tenuities  appeared  at  the  Comedie 
Fran9aise.  The  same  theater  brought  forth  the 
next  two  plays,  La  Loi  de  I'Homme  (1897)  and 
L'finigme  (1901).  But  it  was  La  Course  du 
Flambeau  (1901)  that  was  destined  to  make  its 
author  famous  in  his  own  country,  and  establish 
his  reputation  firmly ;  it  was  produced  at  the  Vaude- 
ville. Theroigne  de  Mericourt,  a  historical  drama 
in  six  acts  was  played  by  Sarah  Bernhardt  at  her 
theater  in  1902.  Le  Dedale,  one  of  Hervieu's 
greatest  successes,  was  seen  at  the  Comedie  Fran- 
9aise  the  following  year.  Le  Reveil,  Modestie, 
Connais-toi,  and  Bagatelle,  complete  the  list  of  his 
plays;  these,  with  the  exception  of  the  light  one- 
act  Modestie,  were  first  produced  at  the  Comedie, 
(1905,  1909,  1912). 

A  member  of  the  French  Academy,  president  of 
the  Society  of  Dramatic  Authors,  the  recipient  of 
nearly  every  public  honor  that  can  be  accorded  to 
a  French  writer,  M.  Hervieu  is  held  in  the  highest 
esteem  by  his  confreres  and  respected  by  the 
French  public  at  large. 

Diogene-le-Chien,  Hervieu's  first  work,  is  called 
a  novel;  it  is  however,  a  philosophical  essay;  well 
received  by  the  critics,  especially  by  Anatole 
France  and  Maupassant,  it  was  fairly  successful 
with  the  public  in  general,  who  were  delighted 
with  its  gentle  irony  and  quiet  cynicism.  The 


PAUL   HERVIEU 

book  is  characterized  by  that  nervous,  high-pres- 
sure, and  rather  difficult  style  which  is  found  in 
Hervieu's  best  works.  L' Armature  and  Feints  par 
Eux-memes  are  among  the  finest  of  the  author's 
works  of  fiction,  and  they  are  interesting  as  being 
illustrative  of  the  good  and  bad  qualities  of  all  his 
writings.  L' Armature  is  clear  and  unified,  with  a 
central  figure  around  which  moves  a  well-con- 
structed and  carefully  managed  story;  in  Peints  par 
Eux-memes  the  story  is  perhaps  less  unified,  though 
"moving"  and  highly  interesting.  Certain  scenes 
in  these  novels  have  been  cited  as  coming  from 
a  man  who  was  a  true  dramatist,  and  it  is  signifi- 
cant that  M.  Brieux  has  made  a  play  out  of 
L,' Armature.  Only  one  dramatic  work  of  any  im- 
portance preceded  these  novels — Les  Paroles  Res- 
tent — and  that  was  scarcely  indicative  of  the  more 
mature  work  to  come.  The  question  of  "influences" 
is  a  difficult  one,  but  it  is  certain  that  Hervieu 
showed  as  much  promise  of  the  dramatist  to  be 
in  his  novel  L' Armature,  as  in  his  play  Les  Pa- 
roles Restent. 

It  is  as  a  writer  of  plays  that  Paul  Hervieu 
is  pre-eminently  known.  He  and  Brieux  are  the 
greatest  living  exponents  of  the  "thesis"  play; 
neither  ever  wrote  a  play  without  having  some  dis- 
tinct and  immediate  purpose  in  view.  If  this  pur- 
pose was  not  the  righting  of  a  wrong,  it  was  at 
least  the  illustration  of  some  law  of  nature  bearing 
directly  upon  some  social  abuse.  Both  are  actuated 
by  a  desire  to  benefit  mankind  materially,  either  by 
pointing  out  the  road  to  good  or — as  is  more  fre- 
quently the  case — by  showing  the  pitfalls  on  the 
road  to  evil.  Hervieu,  himself  a  lawyer,  in  some 
of  his  best  plays,  attacks  the  law  because  he  con- 


10  PAUL   HERVIEU 

siders  it  in  many  respects  unjust;  Brieux  attacks 
all  authority  because  he  is  convinced  that  "in 
human  hands  it  becomes  tyranny."  As  an  artist, 
because  of  his  distinctive  style  and  more  fastidi- 
ous sense  of  form,  Hervieu  must  be  conceded  as 
superior  to  Brieux,  but  Brieux  is  more  brutally 
powerful,  more  personal  and  acrimonious.  Brieux 
is,  on  the  whole,  logical,  but  there  are  times  when 
his  logic  is  ill-advised  and  one-sided,  but  Hervieu, 
by  reason  of  his  artistic  reticence,  is  always  just; 
Brieux  is  of  the  people,  Hervieu  is  a  little  above. 
Perhaps  that  very  passion  for  logical  perfection 
in  Hervieu  lessens  the  value  of  his  plays  as  human 
documents,  and  certainly  the  theme  of  La  Course 
du  Flambeau  is  more  like  a  mathematical  theorem 
than  a  series  of  incidents  taken  from  life.  The 
plays  are  often  criticized  for  their  almost  too  per- 
fect balance,  and  their  consequent  lack  of  the 
"human"  element,  and  it  cannot  be  denied  that  in 
the  play  just  mentioned,  and  in  Les  Tenailles  and 
La  Loi  de  I'Homme,  Hervieu  has  overestimated 
the  exigencies  of  his  theme  and  assumed  rather  the 
role  of  scientific  expositor  than  that  of  the  critic 
of  life.  But  in  spite  of  an  occasional  too  rigid 
adherence  to  the  logic  of  his  plot  and  a  too  great 
insistence  on  the  formal  precision  of  his  ideas,  Her- 
vieu has  accomplished  more  for  the  cause  of  his 
art  than  almost  any  other  of  his  contemporaries. 
In  Brunetiere's  Address  on  the  Reception  of  Her- 
vieu into  the  French  Academy,  he  states  that  the 
plays  of  the  young  writer  marked  an  epoch  in  the 
contemporaneous  theater,  bringing  once  more  true 
tragedy  in  modern  guise  to  the  stage  of  to-day.  And 
it  is  for  this  reason,  as  well  as  because  of  the  in- 
trinsic value  of  the  plays  that  Hervieu  will  be  re- 


PAUL   HERVIEU  11 

membered.  Not  content  merely  with  the  depiction 
of  character  in  action,  or  with  the  consideration  of 
present-day  problems,  he  has  returned  to  the  eter- 
nal struggles,  having  root  in  all  mankind:  those 
between  parent  and  child,  love  and  duty,  will- 
power and  inclination.  If  he  places  his  characters 
in  a  twentieth  century  environment,  and  sets  them 
contending  with  modern  conditions,  it  is  only  that 
he  may  bring  his  audience  into  closer  sympathy 
with  him  than  if  he  were  to  adopt  the  conven- 
tional magnificence  and  pomp  of  classical  tragedy. 
"Nowadays,"  says  M.  Hervieu,*  "we  try  to  show 
how  the  struggle  for  existence  bears  down  inexor- 
ably upon  those  who  are  imprudent,  too  weak  to 
defend  themselves,  those  whose  passions  are 
stronger  than  their  will  to  resist  them."  And  by 
way  of  illustration  of  this  statement  he  has  written 
at  least  two  plays  that  may  fairly  be  accounted 
the  finest  of  modern  tragedies,  Le  Dedale  and  La 
Course  du  Flambeau.  In  the  former,  the  very  es- 
sence of  the  tragedy  is  its  inevitableness :  in  the 
heart  of  humanity  is  the  love  of  parent  for  child, 
and  external  forces  that  tend  to  interfere  with  this 
deeply-imbedded  instinct  are  bound  to  fail.  In 
the  latter,  the  element  of  fate  is  no  less  predomi- 
nant; here  the  love  of  mother  for  daughter  drives  a 
woman  to  kill  in  turn  her  own  mother;  the  play 
ends  with  the  words,  "For  my  daughter  I  have 
killed  my  mother." 

Of  the  remaining  plays,  Les  Tenailles,  L'£n- 
igme,  Le  Reveil,  and  Connais-toi  are  the  most  im- 
portant; La  Loi  de  I'Homme  and  Les  Paroles 


*  Quoted,  in  Le  Thedlre  et  lea  Moeurs,  p.  180,  Brisson, 
Flammarion  (Paris). 


12  PAUL    HERVIEU 

Restent  are  early  works  of  only  relative  merit; 
Point  de  Lendemain,  merely  an  adaptation,  The- 
roigne  de  Me.ricourt  a  historical  drama,  and 
Modestie  a  delightful  trifle.  Considering  the 
plays  in  chronological  order,  and  omitting  Point 
de  Lendemain,  his  first  play,  we  come  to  Les 
Paroles  Restent. 

It  is  not  of  prime  importance,  though  the  choice 
of  theme  is  significant:  a  man  starts  a  slanderous 
story  about  a  young  lady  which,  it  turns  out,  is 
untrue.  He  falls  in  love  with  her,  and  confesses 
that  he  started  the  story;  she  leaves  him.  There 
is  a  duel,  the  man  is  killed,  hearing,  just  before 
his  death  the  echo  of  his  story:  "Words  remain." 
The  impossibility  of  escape  from  the  consequences 
of  wrong-doing  is  a  subject  of  true  tragedy;  it  is 
a  theme  that  Hervieu  worked  out  later  on  a  larger 
scale. 

Les  Tenailles,  a  more  mature  piece  of  work,  is 
the  story  of  a  woman  who,  having  ceased  to  love 
her  husband,  tells  him  she  is  in  love  with  another 
man  and  wishes  to  go  away  with  him.  The  hus- 
band, who  retains  as  little  love  for  his  wife  as 
she  for  him,  refuses  to  let  her  go;  "the  wife  is 
prisoner  to  the  husband."  At  the  end  of  ten  years, 
after  the  birth  of  a  child,  a  dispute  arises  over  its 
education;  in  the  heat  of  the  argument,  the  woman 
tells  her  husband  that  the  child  is  hers  by  the  man 
she  loved.  The  husband  is  now  willing  to  grant 
his  wife  the  divorce  for  which  she  asked  years  ago, 
but  this  time  she  refuses:  she  must  have  protec- 
tion for  herself  and  child.  She  cannot  leave. 
"They  must  go  hand  in  hand  manacled  to  the  end, 
let  the  nippers  gall  as  they  will.  There  is  the 


PAUL  HERVIEU  13 

child.  Its  future  is  at  stake." — "We  are  only 
two  wretched  people,"  says  the  wife,  "and  misery 
knows  only  equals."  A  greater  sureness  of  touch 
and  finer  insight  into  human  character  enter  into 
the  composition  of  this  play  than  into  the  preced- 
ing. 

La  Loi  de  I'Homme  is  an  attack  upon  man-made 
laws;  those  articles  in  the  Code  that  accord  the 
right  to  the  father,  rather  than  the  mother,  to  con- 
sent to  the  marriage  of  the  child,  and  that  fail  to 
place  man  and  wife  on  an  equal  legal  footing  in 
the  matter  of  infidelity,  are  the  butt  of  Hervieu's 
feminist  and  acrimonious  play. 

L'finigme  is  chiefly  interesting  because  it  vio- 
lates one  of  the  supposedly  inviolable  laws  of  dra- 
matic technique :  Never  keep  a  secret  from  the  audi- 
ence. One  of  two  sisters-in-law  is  unfaithful  to 
her  husband.  Which?  That  is  the  enigma  that 
is  not  solved  until  the  end  of  the  play.  With  the 
utmost  skill  the  author  contrives  to  keep  his  audi- 
ence in  suspense,  and  in  this  he  succeeds,  with  the 
result,  however,  that  the  interest  of  the  play  is  al- 
most entirely  in  the  effort  to  solve  the  riddle  which 
is,  after  all,  of  very  little  importance. 

Theroigne  de  Mericourt,  Hervieu's  only  attempt 
in  the  field  of  historical  drama,  was  highly  success- 
ful; by  reason  of  its  character  portrayal,  its  vivid- 
ness and  power,  its  dignity,  and  the  excellence  of 
its  literary  style,  it  ranks  as  one  of  the  best  mod- 
ern plays  of  its  kind.  Of  the  next  play,  Le 
Dedale,  I  shall  speak  later. 

Le  Reveil  is  perhaps  the  most  abstract  and  "in- 
tellectual" of  all  the  Hervieu  plays,  because  of  the 
extreme  subtlety  of  its  theme:  "There  are  certain 


14  PAUL   HERVIEU 

crises  in  our  lives,"  says  Antoine  Benoist,*  "when 
it  may  be  said  that  we  are  no  longer  ourselves; 
carried  away  either  by  enthusiasm  or  by  a  great 
wave  of  passion,  we  are  capable  of  performing 
acts — good  or  evil — that,  before  or  after,  appear 
to  us  utterly  out  of  keeping  with  our  character. 
Such  are  the  sudden  and  violent  crises  that  ordi- 
narily serve  as  subjects  for  the  writer  of  dramas 
and  tragedies.  But  suppose  that  the  moment  be- 
fore the  catastrophe,  when  two  lovers  are  about 
to  ruin  their  lives,  a  sudden  light  illumines  the 
yawning  abyss  at  their  feet."  Here  then  is  the 
"awakening"  that  the  author  treats  in  Le  Reveil. 
The  woman  who  is  willing  to  leave  husband  and 
child  for  the  man  she  loves,  suddenly  comes  to  a 
full  realization  of  her  crime  and,  after  thinking 
her  lover  dead,  tells  him,  "No,  I  am  no  longer 
the  woman  for  whom  you  were  everything.  I 
thought  you  were  dead,  and  I  saw  that  I  must  con- 
tinue to  live,  if  not  for  myself,  at  least  for  my 
husband  and  child." 

Connaig-toi  marks  a  return  to  the  earlier  choice 
of  theme:  man  is  feeble,  for  he  does  not  know  him- 
self; has  he,  therefore  the  right  to  judge  others? 
As  in  La  Course  du  Flambeau  the  central  idea  is 
epitomized  in  the  final  words  of  the  play,  "Who 
knows  himself?"  General  de  Siberan,  a  man  of 
rigid  principles,  infallible  in  his  own  estimation  in 
questions  of  "honor"  and  morality,  believes  that  a 
guest  in  his  own  home,  a  young  lieutenant,  is  carry- 
ing on  a  clandestine  love  affair  with  another  of  his 
guests,  Mme.  Doncieres;  he  insists  that  the  lieu- 


*  Le    Thtdtre   d'Aujourd'hui — premiere  S6rie — Soci6t6 
Francaise  d'  Imprimerie  et  de  Librairie.     (Paris.  1911.) 


PAUL   HERVIEU  15 

tenant  leave  at  once  for  the  wars.  But  he  soon 
after  learns  that  his  own  son  is  the  guilty  one; 
the  son,  however,  is  not  sent  off.  Doncieres,  the 
husband  of  the  woman,  asks  the  general's  advice, 
and  determines  to  divorce  his  wife.  After  he  leaves 
to  arrange  matters  with  his  lawyer,  the  general 
surprises  his  own  wife  in  the  arms  of  the  lieutenant. 
This  blow  paralyzes  him  and  his  principles ;  he  can 
only  forgive  and  ask,  "Who  knows  himself?" 

Hervieu's  latest  play,  Bagatelle  (October,  1912), 
is  a  comedy  of  manners.  According  to  the  French 
critics,  it  was  well  received  at  the  Comedie,  and  de- 
servedly so,  for  it  marks  a  distinct  step  in  advance. 
Rene  Doumic  writes:*  "This  comedy  is  really  pro- 
found. It  does  credit  to  the  author  as  dramatist 
and  moralist.  The  painter  of  manners  presenting 
in  so  modern  and  unmistakable  a  way  the  elegant 
society  in  which  Mme.  Orlonia  moves,  leaves  us  no 
illusions  on  the  absolute  depravity  of  certain  circles 
in  the  highest  ranks  of  contemporaneous  society. 
...  In  my  opinion,  this  is  the  last  word  on  the 
subject  .  .  .  the  reflection  of  human  life  itself. 
.  .  .  For  the  first  time  he  has  depicted,  in  all  its 
simplicity  and  chastity,  the  type  of  the  pure 
woman." 

Le  Dedale  is  Hervieu's  masterpiece.  Its  only 
acknowledged  rivals,  Les  Tenailles  and  La  Course 
du  Flambeau,  are,  in  the  first  instance,  devoid  of 
nobility  as  to  the  men  and  women  portrayed  and,  in 
the  second,  marred  by  a  too  strict  adherence  to  the 
logical  demands  of  the  theme.  Le  Dedale  has  at 
least  two  admirable  and  therefore  truly  pitiable  and 
tragic  figures,  Marianne  and  Guillaume  Le  Breuil, 


In  L' Illustration,  January  25,  1913, 


16  PAUL   HERVIEU 

and  the  theme  is  allowed  to  develop  through  the  hu- 
man agency  of  the  unfortunate  characters,  and  not 
through  the  incorrigible  demands  of  the  dramatist. 
In  no  other  play  has  Hervieu  attained  and  pre- 
served so  great  a  height  of  sympathetic  and  passion- 
ate emotional  power,  nor  exposed  the  relentless 
working-out  of  human  motives  struggling  with 
forces  greater  than  themselves ;  nowhere  else  has  he 
sustained  his  interest  and  developed  his  story  simul- 
taneously, with  so  sure  a  hand.  Faults  the  play 
has,  faults  of  style — of  which  more  will  be  said 
later — and  faults  of  technique,  while  the  denoue- 
ment has  been  in  nearly  every  criticism  of  the 
play  severely  censured.  Hervieu  has  declared  him- 
self against  the  expedient  of  suicide  as  a  means 
of  ending  plays,  and  in  the  case  of  the  present 
play,  he  seems  to  have  acted  contrary  to  his  own 
teaching.  He  says,*  "I  have  always  avoided  arbi- 
trarily happy  endings  (the  punishment  of  vice  and 
the  reward  of  virtue)  and  opportune  deaths,  where- 
by in  the  last  act  those  who  are  in  the  way  are 
fortunately  disposed  of,  thereby  employing  the 
death  of  others  as  a  solution  for  the  problems  of 
life."  After  this  affirmation,  it  is  impossible  to 
conceive  of  Hervieu  so  contradicting  himself  as  to 
use  the  suicide-murder  of  Max  and  Guillaume  as  a 
facile  expedient  to  rid  himself  of  "those  who  are 
in  the  way;"  his  reasons  must  have  been  deeper. 
Consider  Marianne's  position:  if  she  dies,  the  child 
remains,  and  also  the  two  husbands;  if  Guillaume 
dies,  she  is  at  the  mercy  of  Max,  against  whom 
her  innate  modesty  rebels;  if  Max  dies;  it  must  be 


son. 


Quoted,  page  190,  in  Le  Th6dtrg  et  Us  Mceurs,  Bris- 


PAUL   HERVIEU  17 

by  Guillaume's  hand — but  then  Guillamne  would 
remain,  with  his  crime  and  Marianne's  infidelity 
to  keep  them  apart.  What  remains?  Both  must 
die,  for  the  good  of  Marianne  and  for  the  good 
of  the  child.  This  is  the  natural,  the  inevitable 
solution  of  the  situation.  Hervieu  was  therefore 
forced  to  it.  And  yet  it  seems  unsatisfactory,  es- 
pecially, as  M.  Brisson  points  out,*  as  the  catas- 
trophe is  dependent  on  Guillaume's  superior  physi- 
cal strength,  for  what  if  Max  had  been  the 
stronger?  This  is  the  only  serious  criticism  that 
can  justly  be  made  against  the  play;  for  the  rest, 
it  is  gripping,  logical,  and  true;  it  is,  as  Mr. 
Huneker  says,  "a  great  section  of  throbbing,  real 
life." 

A  word  on  the  literary  style  of  the  play,  and 
the  difficulty  in  translating  it,  may  not  here  be 
out  of  place.  Brunetiere  called  Hervieu  a  "diffi- 
cult author,"  referring  to  his  compact  and  uncon- 
ventional manner  of  expression.  In  the  earlier 
works,  this  "difficulty"  amounted  at  times  to  annoy- 
ing mannerism,  and  in  Le  Dedale  there  are  many 
unnecessarily  involved  speeches,  which  would  be 
utterly  impossible  in  a  literal  or  even  fairly  close 
translation.  It  has  therefore  been  thought  advis- 
able to  preserve  in  these  cases  the  spirit  and  modify 
to  a  considerable  extent  the  actual  form;  nothing 
of  the  author's  idea  has  been  omitted,  merely  an 
English  equivalent  has  been  sought  in  place  of 
what  would  otherwise  be  a  lifeless  imitation.  The 
present  translation  is  intended  for  those  who  wish 
to  know  the  play  as  a  piece  of  dramatic  literature, 
and  as  a  true  type  of  modern  tragedy. 
B.  H.  C. 

*  Page  190,  in  Le  Thtdtre  et  les  Mceurs,  Brisson. 


Bibliography 


PLAYS 

Point  de  Lendemain,  a  scenic  adaptation  in  one 
act  and  two  scenes  of  the  story  by  Vivant  Denon. 
Cercle  de  1'Union  artistique,  1890  (Lemerre, 
Paris.) — Les  Paroles  Restent,  dramatic  comedy  in 
three  acts;  Vaudeville,  1892.  (Lemerre,  Paris.) 
— Les  Tenailles,  play  in  three  acts ;  Comedie  Fran- 
Saise,  1895.  (Lemerre,  Paris.)  La  Loi  de  VHomme, 
a  play  in  three  acts;  Comedie  Fran9aise,  1897. 
(Lemerre,  Paris.) — L  finigme,  a  play  in  two  acts; 
Comedie  Fra^aise,  1901.  (Lemerre,  Paris.) — La 
Course  du  Flambeau,  play  in  four  acts ;  Vaude- 
ville, 1901.  (Lemerre,  Paris.) — Theroigne  de 
Mericourt,  play  in  six  acts;  Theatre  Sarah  Bern- 
hardt,  1902.  (Lemerre,  Paris.) — Le  Dedale,  play 
in  five  acts;  Comedie  Fran9aise,  1903.  (Lemerre, 
Paris.) — Le  Reveil,  play  in  three  acts;  Comedie 
Francaise,  1905.  (Lemerre,  Paris.) — Modestie, 
play  in  one  act,  played  in  London,  1908;  and  at 
the  Comedie  Fran9aise,  1909-  (Lemerre,  Paris.) 
— Connais-toi,  play  in  three  acts;  Comedie  Fran- 
c.aise,  1909-  (Lemerre,  Paris.) — Bagatelle,  play 
in  three  acts;  Comedie  Fran9aise,  1912.  (L'lllus- 
tration,  Jan.,  1913.) 

Les  Tenailles  is  translated  as  In  Chains  by 
Ysidor  Asckenasy  (Poet  Lore,  1909);  Modestie  is 
translated  by  Barrett  H.  Clark  (Samuel  French, 
New  York,  1913). 

18 


BIBLIOGRAPHY  19 

REFERENCES 

Criticisms  of  separate  plays  are  to  be  found  in 
collections:  Jules  Lemaitre,  Impressions  de  Thea- 
tre; (Lecene  et  Oudin,  Paris.) — Emile  Faguet, 
Propos  de  Theatre;  (Societe  Frangaise  d'lmpri- 
merie  et  de  Librairie,  Paris.) — Francisque  Sarcey, 
Quarante  Ans  de  Theatre;  (Bibliotheque  des  An- 
nales, Paris.) — Adolphe  Brisson,  Le  Theatre  et 
les  Mceurs;  (Flammarion,  Paris,)  and  Le  Thea- 
tre; (Librairie  des  Annales,  Paris.) — Catulle  Men- 
des,  L'Art  au  Theatre;  (Charpentier,  Paris.) — 
fidmond  Stoullig,  Les  Annales  du  Theatre  et  de  la 
Musique;  (Ollendorff,  Paris.) — Henry  Bordeaux, 
La  Fie  au  Theatre;  (Pilon,  Paris.) — Rene  Dou- 
mic,  Le  Theatre  Nouveau;  (Perrin,  Paris.) — Au- 
gustin  Filon,  De  Dumas  a  Rostand;  (Colin, 
Paris.) — Gabriel  Trarieux,  La  Lanterne  de  Dio- 
gene;  (Librairie  Moliere,  Paris.) — Separate  essays 
and  miscellaneous  material:  William  Archer,  Play- 
making;  (Small,  Maynard,  Boston.) — Arthur  Sy- 
mons,  Plays,  Acting,  and  Music;  (Dutton,  New 
York.) — General  studies:  Henry  Malherbe,  Paul 
Hervieu  (in  series,  Les  Celebrites  d'Aujourd'hui}, 
(Sansot,  Paris.) — Rene  Doumic,  Les  Jeunes; 
(Perrin,  Paris.) — Abel  Hermant,  Essais  de  Crit- 
ique; (Grasset,  Paris.) — Frangois  Veuillot,  Les 
Predicateurs  de  la  Scene;  (Retaux,  Paris.) — Emile 
de  St.  Auban,  L'Idee  Sociale  au  Theatre;  (P.  V. 
Stock,  Paris.) — Antoine  Benoist,  Le  Theatre  d'  Au- 
jourd'hui;  (Societe  Frangaise  d'Imprimerie  et  de 
Librairie,  Paris.) — Paul  Flat,  Figures  du  Theatre 
Contemporain;  (Sansot,  Paris.) — James  Huneker, 
Iconoclasts;  (Scribners,  New  York.) — See  maga- 
zines: International  Review,  vol.  7  (p.  265),  and 
Critic,  vol.  37  (p.  158). 


THE   LABYRINTH 

A  PLAY  IN  FIVE  ACTS,  IN  PROSE,  PRODUCED 

FOR  THE  FIRST  TIME  AT  THE  THEATRE 

FRANCAIS,    DECEMBER    19,    1903 

PERSONS   REPRESENTED:   THE 
ORIGINAL   CAST 

MM. 

Max  de  Pogis LE  BARGY 

Guillaume  Le  Breuil PAUL  MOUNET 

Vilard-Duval Louis  DELAUNAY 

Hubert  de  Saint-Eric HENRY  MAYER 

The  Doctor SIBLOT 

A  Young  Peasant ANDRE  BRUNOT 

MMES. 

Marianne   BARTET 

Mme.   Vilard-Duval PIERSON 

Mme.  de  Pogis RENEE  DU  MINIL 

Paulette    LECONTE 

Little  Louis FLEURY 

A  valet,  a  footman,  a  chambermaid. 

Act  I.  Home  of  Vilard-Duval. 

Act  II.  Home  of  Hubert  de  Saint-Eric. 

Act  III.  The  Chateau  of  Max  de  Pogis. 

Act  IV.  Same  as  Act  I. 

Act  V.   Terrace  at  home  of  Marianne. 

All  the  above  are  in  the  French  provinces. 

TIME:  The  present 
20 


The  Labyrinth 


ACT    I 

A  drawing-room,  with  rich  furnishings  of  a  solid 
bourgeois    family.     A    door   at    the   back.     A 
door  to  the  left,  down  stage;  another,  half-way 
up  stage  to  the  left. 
Discover  VILARD-DUVAL. 

SERVANT 
[Announcing.]  M.  Le  Breuil. 

VILARD-DUVAL 

Show  him  in,  and  let  my  daughter  know.  [The 
SERVANT  goes  out  and  LE  BREUIL  enters.]  Come  in, 
my  dear  Guillaume. 

GUILLAUME    LE    BREUIL 

Don't  keep  me  in  suspense,  M.  Vilard-Duval. 
Tell  me  at  once. 

VILARD-DUVAL 

Very  well!  My  wife  refuses  to  give  her  con- 
sent. 

GUILLAUME    LE    BREUIL 

I  didn't  think  that  was  possible.  However,  you 
had  warned  me. 

21 


23  THE   LABYRINTH  [Acr  I 

VILARD-DUVAL 

You  know  very  well  that  this  refusal  casts  no 
reflection  on  your  character.  My  wife  esteems  you 
as  the  worthy  son  of  one  of  my  old  legal  friends. 
She  respects  you  for  that  greatness  of  spirit  which 
your  enterprises,  your  struggles  with  Nature  have 
given  you.  In  short,  she  says  that  she  couldn't 
wish  for  a  better  son-in-law,  if  Marianne  were  a 
widow.  But  she  is  only  divorced.  What  her 
mother  refuses  to  recognize  is  a  marriage  without 
the  sanction  of  the  Church. 

GUILLAUME    LE    BRETIL 

If  your  wife  does  not  believe  in  divorce,  why 
did  she  allow  her  daughter  to  get  one? 

VILARD-DUVAL 

You  don't  seem  to  know  the  state  of  affairs — 

GUILLAUME    LE    BREUIL 

I  was  in  Australia  at  the  time.  Since  I  returned, 
and  have  been  received  into  the  family  circle  again, 
my  attitude  has  been  such  as  to  prevent  gossip, 
and  out  of  regard  for  your  feelings  I  have  asked 
no  questions. 

VILARD-DUVAL 

In  short,  here  is  the  story.  M.  de  Pogis,  after 
Marianne  had  absolute  proof  of  his  infidelity, 
eloped  with  his  accomplice,  a  friend  of  Marianne. 
I  persuaded  my  daughter  to  ask  for  a  separation, 
so  that  the  runaway  husband  forfeited  his  right  to 
come  back  and  carry  off  the  child,  his  and  Mari- 
anne's. Three  years  later,  M.  de  Pogis  returned 


ACT  I]  THE    LABYRINTH  23 

to  ask  that  the  separation  be  changed  to  divorce. 
You  can  believe  that  my  wife  opposed  this.  She 
made  Marianne  appeal  as  often  as  she  was  able, 
telling  her  continually  that  divorce  was  impious. 
Marianne  also  disliked  the  finality  of  such  a  step. 
My  wife,  ever  holding  out  for  the  bonds  of  mar- 
riage, had  not  even  then  given  up  the  hope  of  a 
reconciliation. 

GUILLAUME    LE    BREUIL 

Was  your  daughter  also  hoping  for  that? 

VILARD-DUVAL 

How  could  we  tell?  She  said  nothing  at  all 
for  so  long  after  the  shock !  At  any  rate,  after  M. 
de  Pogis  gained  absolute  liberty,  no  one  thought  of 
his  returning  here.  He  married  some  months  ago, 
thereby  giving  his  mistress  the  same  name  under 
which  Marianne  was  living  in  our  home.  I  shall 
say  nothing  more  about  that.  I  went  into  detail 
only  to  show  you  that  my  wife  would  never  agree 
with  us  on  this  question  of  divorce.  And  I  doubt 
if  she  ever  will.  You  know,  of  course,  that  she 
was  born  of  a  different  race  from  mine.  She  was 
educated  at  a  convent  in  company  with  girls  of 
noble  birth.  It  seemed  that  we  were  incompatible 
in  every  respect.  She  was  poor;  I  was  a  plebeian. 
But  love  came  and  made  us  equals. 

GUILLAUME    LE    BREUIL 

Nevertheless,  you  didn't  have  to  give  up  your 
own  ideas.  At  any  rate,  you  are  not  prejudiced 
against  divorce,  are  you? 


24  THE    LABYRINTH  [Acr  I 

VILARD-DUVAL 

I  ?  Well,  I  tried  during  my  career  as  a  magis- 
trate to  command  respect  for  the  law.  I  have  al- 
ways treated  those  who  observed  it  as  good  citi- 
zens; the  others  I  condemned.  Now  that  a 
question  arises  in  my  own  home,  of  procedure 
sanctioned  by  the  law,  I  should  be  giving  the  lie 
to  my  past  life  if  I  told  my  daughter,  "Divorce 
is  legal,  but  your  country's  laws  mean  nothing!" 

OUILLAUME    LE    BREUIL 

Good! — May  I  count  on  you  to  use  your  in- 
fluence with  your  wife  and  daughter  as  much  as 
possible  ? 

VILARD-DUVAL 

You  may.  It  has  been  my  earnest  endeavor  to 
provide  for  Marianne  a  husband  of  your  force  of 
character.  When  we  old  people,  my  wife  and  I, 
are  gone,  I  want  to  be  sure  that  my  daughter  will 
not  be  unprovided  for  in  the  world  with  her  little 
boy,  who  may  perhaps  have  inherited  his  father's 
quick  temper.  Marianne,  who  has  not  yet  inter- 
fered, knows  from  me  of  my  attempt  last  night. 
You  can  question  her,  and  find  what  would  be  the 
best  plan  for  her  to  adopt.  No  matter  what  she 
decides  concerning  her  mother,  I  shall  never  take 
sides  against  Marianne. — Here  she  is. 

MARIANNE 

[Entering  through  the  left  door,  half-way  down 
stage.]  Good  morning,  Guillaume. 

OUILLAUME    LE    BREUIL 

My  dear  Marianne! 


ACT  I]  THE   LABYRINTH  25 

VILARD-DUVAL 

I  have  told  him. 

MARIANNE 

Oh! 

OUILLAUME    LE    BREUIL 


Yes. 


VILARD-DUVAL 


I  am  going  to  leave  you  to  discuss  it  together 
with  perfect  frankness.  I'll  be  writing,  in  my 
room.  [To  GUILLAUME.]  Don't  go  without  speak- 
ing to  me  again. 

GUILLAUME    LE    BREUIL 

All  right.     See  you  soon. 

[VILARD-DUVAL   goes    out    through   the   door,   left, 
down  stage,] 

MARIANNE 

Are  you  unhappy? 

GUILLAUME    LE    BREUIL 

No.     I  can't  yet  believe  that  I  have  lost  you. 

MARIANNE 

What  do  you  want  me  to  do? 

GUILLAUME    LE    BREUIL 

You  know  I  have  a  simple  way  of  coming  to 
the  point  at  once.  I  learned  that  from  my  life 
among  the  savages.  Don't  be  surprised  at  the  ques- 
tion I  am  going  to  ask. 


26  THE    LABYRINTH  [Acr  I 

MARIANNE 

What  is  it? 

GUILLAUME    LE    BREUIL 

Marianne,  I  love  you,  you  have  accepted  me; 
you  are  free,  we  have  the  approval  of  the  head 
of  your  family.  Tell  me,  will  you  let  this  scruple — 
which  has  come  on  us  like  a  bolt  from  the  blue — 
stand  in  the  way  of  so  much  that  is  right? 

MARIANNE 

Oh,  my  dear,  you  don't  ask  me  to  break  with 
my  mother? 

GUILLAUME    LE    BREUIL 

Yes;  I  was  carried  away  by  my  love  for  you. 
Perhaps  I  overestimated  your  affection  for  me. 

MARIANNE 

Why  are  you  so  bitter  and  reproachful?  When 
you  proposed  to  me  I  accepted  your  offer  with 
gratitude,  with  tenderness,  but  at  the  same  time  I 
warned  you  that  you  were  getting  a  woman  who 
had  left  her  blind  passions  and  eager  enthusiasm 
by  the  wayside,  on  the  thorny  brambles — 

GUILLAUME    LE    BREUIL 

That  is  true.  You  promised  me  only  faithful  de- 
votion.. 

MARIANNE 

I  am  thankful  to  you  for  having  restored  to  me 
as  much  as  my  heart  can  hold,  now.  I  had  come 


ACT  I]  THE   LABYRINTH  27 

to  the  conclusion  that  except  in  educating  my  son, 
I  should  never  be  happy  again.  You  soon  per- 
suaded me  that  I  could  be  so,  in  making  you  happy. 
And  that  is  not  all,  for  your  attentions  aroused  in 
me  again  all  my  woman's  pride,  those  little  vanities 
dear  to  a  woman  which  I  thought  had  been  crushed 
out  of  me.  With  you  near  me,  I  began  to  take 
greater  care  of  my  thoughts  and  how  I  expressed 
them  to  you.  The  sweet  anxiety  of  waiting  for 
you,  the  joy  of  having  you  here,  your  tender  words 
and  gentle  care,  have  become  every  day  like  flowers, 
again  smelling  sweet  through  these  hours  of  my 
life. 

GUILLAUME    LE    BREUIL 

Marianne ! 

MARIANNE 

Isn't  that  true  devotion?  Something  higher, 
more  precious? 

GUILLAUME    LE    BREUIL 

I  know  I'm  ungrateful,  unjust,  that  I  ask  too 
much!  But  it  is  because  I  adore  you  with  all  the 
passion  of  first  love !  Before  I  came  near  you,  I 
never  imagined  it  possible  to  concentrate  on  one 
being  alone  all  one's  dreams  and  desires,  all  one's 
dearest  hopes  and  deepest  need  for  sacrifice !  Only 
after  I  came  to  know  you  could  I  understand  what 
infinite  subtlety,  what  chaste  refinements  make  up 
what  is  worthy  to  be  called  Woman!  You  have 
made  me  realize  my  dignity  as  a  man.  To  you  I 
owe  all  that  is  purest  in  me  for  having  made  me 
feel  that  respect  could  equal  desire. 


28  THE   LABYRINTH  [Acr  I 

MARIANNE 

What  joy  you  give  me,  when  you  speak  so  gen- 
erously !  I — I  hardly  know  what  to  answer !  When 
I  try  to  tell  you  what  I  feel,  I  can  only  think  of 
commonplaces. 

GUILLAUME    LE    BREUIL 

I  could  easily  be  content  with  commonplaces, 
as  you  call  them,  if  we  were  married.  I  should 
not  mind  it  if  your  lips  never  uttered  fine  speeches, 
if  only  those  lips  were  mine.  In  our  present  diffi- 
culty, I  am  afraid  to  gauge  by  what  you  say  how 
little  you  care  for  me !  Since  you  don't  want  to 
disobey  your  mother,  my  only  chance  is  in  her 
giving  in  to  your  entreaties.  And  I  fear  you  will 
not  show  the  anguish,  the  anxiety,  the  sorrow, 
necessary  for  that!  You  will  not  be  able  to  sum- 
mon up  those  supplications  and  yearnings  that  I 
can  hardly  keep  from  uttering,  I  who  love  you,  I 
who  suffer  for  you — 

MARIANNE 

You  know,  Guillaume,  I  am  deeply  moved  to 
see  you  like  this.  I  appreciate  infinitely  your 
feelings  for  me.  If  you  imagine  that  I'm  not 
ready  to  shed  tears  for  you,  prove  that  you  can 
hold  it  against  me,  that  you  can  deprive  me  of 
your  considerateness  for  me,  of  your  comradeship. 
It's  not  you  who  threaten  this,  and  yet  you  see  I 
am  crying! 

GUILLAUME    LE    BREUIL 

My  dearest  love,  don't  give  me  time  to  ask  your 
forgiveness.  Go  at  once,  while  you  are  suffering 
from  my  rudeness,  while  your  heart  is  full,  throw 
yourself  at  your  mother's  feet — 


ACT  I]  THE   LABYRINTH  29 

MARIANNE 

What?     At  once? 

GUILLAUME    LE    BREUIL 

Tell  her  that  you  refuse  to  make  me  miserable. 
Show  her  in  your  eyes  that  you  have  not  the 
courage ! 

MARIANNE 

Please,  give  me  time  to  take  hold  of  myself,  and 
get  ready  for  so  terrible  an  ordeal. 

GUILLAUME    LE    BREUIL 

How  soon  you  recover  your  prudence  and  cold 
commonsense !  My  wretched  love  can  find  no  way 
to  inspire  you.  [The  doorbell  rings.]  Can  noth- 
ing stir  up  in  you  one  of  those  waves  of  passion 
that  sweeps  all  before  it? 

PAULETTE 

[Entering  through  the  door  at  the  back.]  Am 
I  intruding? 

MARIANNE 

Paulette!  [To  GUILLAUME.]  Do  you  know  my 
cousin,  Madame  de  Saint-fine  ? 

GUILLAUME    LE    BREUIL 

[Bowing.]      Certainly. 

MARIANNE 

[To  PAULETTE].     When  did  you  get  back? 

PAULETTE 

I  want  to  tell  vou  about  that. 


30  THE    LABYRINTH  [Acr  I 

GUILLAUME    LE    BREUIL 
I'll    gO— 

MARIANNE 

[To  GUILLAUME.]      You  owe  a  visit  to  my  father. 
You  will  come  back  through  here,  won't  you? 

GUILLAUME    LE    BREUIL 

Certainly,  with  pleasure!     I  shall  be  back  soon. 
[He  goes  out,  down  left.] 

MARIANNE 

I  didn't  think  you  were  coming  back  for  another 
month. 

PAULETTE 

But  I  did,  thank  heaven ! 

MARIANNE 

Don't  you  like  the  country? 

PAULETTE 

When  you  have  a  country  place,  you  must  visit 
it  from  time  to  time. 

MARIANNE 

In  former  years,  you  took  so  much  pleasure  in 
being  alone  with  your  family  down  there — 

PAULETTE 

[Changing   the   subject.]      How   is   your   little 
Louis  getting  on? 

MARIANNE 

Beautifully.     And  your  boy? 


ACT  I]  THE   LABYRINTH  31 

PAULETTE 

Very  well,  thanks.  It's  nice,  isn't  it,  that  our 
boys  are  the  same  age!  Ten  years!  Just  think 
how  often  people  have  changed  their  style  of 
coiffure,  their  faces,  and  their  characters,  in  that 
time ! 

MARIANNE 

Did  your  husband  come  back  with  you? 

PAULETTE 

Of  course.  He  will  call  on  you  to-day.  I  ar- 
ranged to  get  here  before  he  did;  I  wanted  to  tell 
you  something  for  his  benefit. 

MARIANNE 

What  is  it? 

PAULETTE 

In  spite  of  the  fact  that  you  and  I  are  such 
good  friends,  I  find  it  very  hard  to  explain.  But 
circumstances  have  forced  me  to  do  so. 

MARIANNE 

Well,  come  now,  what  is  it? 

PAULETTE 

Hubert  and  I  arrived  from  La  Charmeraye  the 
day  before  yesterday.  To  account  for  my  first 
day's  time  after  our  return,  I  told  him  that  I  spent 
yesterday  shopping  with  you. 

MARIANNE 

Oh,  Paulette!     What  am  I  to  think  of  that? 


32  THE   LABYRINTH  [Acr  I 

PAULETTE 

Don't  trouble  to  go  any  deeper.  All  you  have 
to  do  is  corroborate  my  statement,  if  necessary. 

MARIANNE 

Did  he  question  you,  then?  Did  Hubert  sus- 
pect you? 

PAULETTE 

No!  I  am  the  one  who  suffers  when  I  come 
in  and  don't  tell  him  where  I  have  been,  whom  I 
saw,  and  what  I  did — 

MARIANNE 

There's  a  well-informed  husband  for  you! 
Nevertheless,  you  shouldn't  have  used  my  name  or 
have  dragged  me  into  this  affair. 

PAULETTE 

How  could  I  foresee  that  Hubert  would  become 
so  polite  all  of  a  sudden,  and  change  all  his  habits ! 
Whenever  he  returns  to  Paris,  he  invariably  lets 
some  time  pass  before  he  comes  to  see  you.  If 
that  much  time  had  elapsed,  my  fabrication  would 
have  become  ancient  history.  I  should  have  had 
no  fear  of  his  alluding  to  it,  and  I  should  not  have 
been  embarrassed  by  telling  you. 

MARIANNE 

But  see  what  complications  you  might  involve  me 
in !  Yesterday,  I  stayed  with  my  mother  all  after- 
noon. Do  you  want  to  involve  her?  For  my  part, 
I  tell  you  I  should  be  very  careful  not  to  do  that, 
knowing,  as  I  do,  her  rigid  principles  on  the  sub- 
ject of  marriage. 


ACT  I]  THE    LABYRINTH  33 

PAULETTE 

Let  us  tell  her  that  I  didn't  want  to  let  my  hus- 
band know  of  a  visit  I  made  to  my  Relatives,  that 
he  would  have  objected  to.  What  more  natural 
than  a  quarrel  between  our  families? 

MARIANNE 

[Ringing  for  a  SERVANT.]  All  right!  Let  us 
start  to  work.  [To  the  SERVANT,  who  enters.] 
Ask  my  mother  whether  she  will  receive  her  niece, 
Mme.  de  Saint-firic? 

SERVANT 
Mme.  Vilard-Duval  has  gone  out. 

MARIANNE 

Without  letting  me  know? 

SERVANT 

While  M.  Le  Breuil  was  here,  she  told  me  not 
to  trouble  Madame,  and  that  she  was  taking  Louis 
out  for  a  walk. 

MARIANNE 

Very  well.     [The  SERVANT  goes  out.'} 

PAULETTE 

What  luck ! 

MARIANNE 

Yes,  and  if  my  mother  doesn't  return  too  soon, 

the  matter  will  be  much  simplified.     But  I  must 

accustom  myself  to  playing  a  part  that  is  more 
disagreeable  to  me  than  I  can  tell. 


34  THE   LABYRINTH  [Acr  I 

PAULETTE 

I  can  see  that  in  the  way  you  say  it. 

MARIANNE 

Then,  too,  my  dear,  knowing  each  other  as  long 
as  we  have,  you  ought  to  understand  how  I  object 
to  compromise,  and  how  I  detest  lying! 

PAULETTE 

Perhaps  I  had  grounds  for  believing  you  weren't 
so  intolerant  any  longer — 

MARIANNE 

What  grounds? 

PAULETTE 

Don't  force  me  to  explain. 

MARIANNE 

Oh,  speak  plainly,  you  have  insinuated  some- 
thing— now  explain! 

PAULETTE 

This  handsome  fellow  I  see  coming  out  of  here — 

MARIANNE 

Guillaume  ? 

PAULETTE 

Yes,  M.  Le  Breuil. 

MARIANNE 

Well? 


ACT  I]  THE   LABYRINTH  35 

PAULETTE 

Well,  there  you  are :  that's  all. 

MARIANNE 

Are  you  suggesting  that  our  affection  is  anything 
but  honorable? 

PAULETTE 

For  a  year  now,  M.  Le  Breuil  has  been  in  con- 
stant attendance  on  you.  It's  clear  as  day  that 
he  adores  you.  You  accept  his  attentions  with 
evident  pleasure.  Even  after  that,  I  should  not 
have  thought  anything  about  it  myself,  but  when 
people  came  to  me  and  began  talking — 

MARIANNE 

But  you  have  only  just  arrived.  Did  you  bring 
this  story  about  me  from  the  country  ?  Whom  did 
you  get  it  from? 

PAULETTE 

Not  from  your  husband — from  Max,  I  mean. 
We  are  no  longer  on  speaking  terms,  you  know, 
with  M.  de  Pogis.  Hubert  and  he  merely  bow 
when  they  meet,  but  that's  unavoidable  among  such 
close  neighbors — 

MARIANNE 

And  what  about  her?  Have  you  met  her  re- 
cently ? 

PAULETTE 

I  had  a  look  at  her  once  when  she  didn't  know 
I  was  looking.  She's  thinner,  her  eyes  were  more 
hollow,  but  they  were  only  the  more  fascinating — 


36  THE   LABYRINTH  [Acr  I 

MARIANNE 

[Nervously.]  Don't  talk  about  that  creature! 
Who  was  it  who  told  you  about  me? 

PAULETTE 

Max's  mother,  I  have  not  broken  with  her.  She 
is  not  in  the  least  to  blame;  and  I  know  she  is 
very  unhappy  because  of  her  son's  behavior  to 
you. 

MARIANNE 

Then  why  does  she  start  a  scandal  about  me  ? 

PAULETTE 

Poor  woman,  she  tried  to  keep  from  passing 
judgment  on  you.  In  the  interest  of  her  grand- 
son, as  well  as  in  your  own,  she  asked  me  to  put 
you  on  your  guard  against  the  story.  She  advised 
this  with  the  best  intentions. 

MARIANNE 

That  doesn't  matter.  This  is  a  splendid  warn- 
ing for  me.  It  is  time  I  stopped  this  talk,  by 
making  a  sacrifice  that  I  see  must  be  made.  Do 
you  know  who  slandered  me  to  Mme.  de  Pogis? 

PAULETTE 

I  had  the  idea  that  it  was  her  new  daughter-in- 
law.  She  did  it  as  much  for  her  own  advantage 
as  to  injure  you. 

MARIANNE 

And  what  about  Max?     What  was  his  attitude? 


ACT  I]  THE   LABYRINTH  37 

PAULETTE 

His  mother  told  me  he  knew  nothing  about  it. 

MARIANNE 

Nonsense!  The  woman  who  has  robbed  me  of 
him,  has  done  this  to  degrade  me  in  his  eyes. 

PAULETTE 

She  is  probably  not  so  foolish  as  to  remind  your 
former  husband  of  you  in  this  way. 

MARIANNE 

What  do  you  mean? 

PAULETTE 

It  seems  that  a  man's  thoughts  return  to  the 
woman  he  can  no  longer  dispose  of,  the  moment 
he  thinks  of  her  as  in  the  arms  of  another  man. 

MARIANNE 

Yes,  novels  and  plays  have  been  written  about 
that.  Do  you  think  that  if  Max  learned  I  was  in 
love  with  someone,  he  would  feel  regret,  he  would 
want  me  again? 

PAULETTE 

Through  sheer  vexation,  perverseness,  yes — it's 
quite  probable. 

MARIANNE 

And  you  believe  that  merely  by  becoming  the 
wife  of  another  man,  I  should  be  causing  him 
some — oh,  some  feeling  of  pain,  of  remorse? 


38  THE   LABYRINTH  [Acr  I 

PAULETTE 

Oh,  what  questions  you're  asking!  Heavens,  I 
can't  tell  you  anything  positive!  You  once  loved 
Max  so  deeply  that  he  would  be  fool  enough  to  be- 
lieve what  people  said :  that  you  were  quite  consoled 
for  his  loss.  I  can't  imagine  his  admitting  that 
you  had  found  someone  else  to  take  his  place. 

MARIANNE 

I  can  give  him  an  unquestioned  proof  of  that. 

PAULETTE 

How? 

MARIANNE 

By  marrying  again. 

PAULETTE 

You're  not  serious? 

MARIANNE 

I  was  never  more  so.  I  am  not  M.  Le  Breuil's 
mistress,  I  am  his  fiancee.  It  is  quite  possible  that 
I  shall  marry  him  in  the  near  future. 

PAULETTE 

Oh,  Marianne!  In  our  set  a  woman  may  get  a 
divorce,  but  she  cannot  profit  by  it  to  the  extent 
of  remarrying.  You  would  be  encouraging  public 
immorality ! 

MARIANNE 

In  what  way? 


ACT  I]  THE   LABYRINTH  39 

PAULETTE 

How  do  I  know?  We  have  not  yet  reached  the 
point  where  we  admit  of  the  possibility  of  a 
woman's  first  husband  meeting  her  second.  Think 
of  her  own  situation — between  those  two  men! 

MARIANNE 

Do  you  consider  that  between  the  husband  and 
the  lover  any  more  decent? 

PAULETTE 

That  is  an  old  situation,  and  public  opinion  has 
had  time  to  become  used  to  it. 

MARIANNE 

In  the  light  of  your  prejudices  and  what  you 
tolerate,  I  am  getting  to  think  better  of  what  you 
refuse  to  tolerate. 

PAULETTE 

You  don't  seem  to  want  to  understand  what  so- 
ciety is  shocked  about.  It  is  the  official  recogni- 
tion that  a  woman  has  nothing  sacred  from  both 
these  men,  who  actually  exist  at  the  same  time. 
Now  a  married  woman  who  has  a  lover  conceals 
the  fact  out  of  regard  for  public  decency;  society 
is  not  let  into  the  secret.  The  transaction  is  not 
written  down  in  the  public  records,  it  is  unknown — 

MARIANNE 

Oh-h! 

PAULETTE 

And  if  it  is  suspected,  no  one  has  the  right  to 
be  assured — 


40  THE   LABYRINTH  [Acr  I 

MARIANNE 


Indeed ! 


PAULETTE 


If  one's  suspicions  are  justified,  for  instance, 
if  the  truth  has  been  confided  to  him,  it  is  his  duty 
to  forget. 


MARIANNE 


But,  you  little  wretch !  You  are  perfectly  aware, 
you  can't  forget  they  are  two  real  living  be- 
ings, a  blot  on  your  conscience  and  a  shame  to 
yourself.  And  yet  you  talk  forever  about  other 
people's  morals !  Have  you  any  of  your  own  ?  Is 
the  way  in  which  a  divorced  woman  like  me  be- 
comes, in  the  public  records,  the  wife  of  two  men — 
after  the  lapse  of  a  number  of  years — to  be  com- 
pared with  that  of  belonging  to  them  alternately — 
in  the  closest  intimacy?  No,  you  see,  if  I  am  to 
sympathize  with  you  a  little,  I  must  consider  the 
dangers  to  which  you  are  exposed.  The  courage 
that  this  gives  me  alone  helps  me  to  bear  the 
double  disgrace  of  adultery:  a  husband  deceived, 
and  a  lover! 


PAULETTE 

[Pleading.]     Please!     Don't  say  any  more! 
[The  door-bell  rings.] 

MARIANNE 

Take  care!     Here  is  Hubert! 

PAULETTE 

Heavens,  send  him  away  at  once ! 


ACT  I]  THE    LABYRINTH  41 


MARIANNE 

[To  HUBERT,  who  enters  at  the  back.]      How  are 


you? 


HUBERT    DE    SAINT-ERIC 


I  wanted  to  come  and  see  you;  I've  just  returned 
and  I'm  so  busy  I  have  scarcely  a  minute  to  my- 
self. 

MARIANNE 

In  that  case  I  shan't  ask  you  to  sit  down. 

HUBERT    DE    SAINT-ERIC 

Now  that's  not  nice  of  you! 

MARIANNE 

Now,  really,  Hubert — 

HUBERT    DE    SAINT-ERIC 

No,  it  isn't.  You  just  want  to  get  rid  of  me, 
provided  I  leave  my  wife  with  you.  Do  you  know 
how  late  you  kept  her  yesterday? 

MARIANNE 

[With  perfect  frankness.]      No. 

HUBERT    DE    SAINT-ERIC 

So  late  that  my  dinner  had  time  to  get  cold. 

PAULETTE 

Now,  Hubert,  don't  start  that  over  again! — 

HUBERT    DE    SAINT-ERIC 

It  was  half  past  eight. 


43  THE   LABYRINTH  [Acr  I 


MARIANNE 


[Ambiguously.]  It  was  so  long  since  we'd  seen 
each  other! 

PAULETTE 

[  To  HUBERT.  ]  Since  you're  in  a  hurry,  you  may 
go  in  the  carriage.  I'll  set  you  down  wherever  you 
like.  [She  goes  to  the  door  at  the  back.]  Come 
along  with  me. 

HUBERT    DE    SAINT-ERIC 

[To  PAULETTE.]  One  moment.  I  want  to  tell 
our  cousin  how  much  she  has  improved  this  sum- 
mer. [To  MARIANNE.]  You  never  looked  more 
fascinating  in  your  life! 

MARIANNE 

I  believe  that! 

HUBERT    DE    SAINT-ERIC 

It's  a  fact,  my  dear,  every  time  I  see  you,  I 
am  furious  at  the  thought  of  this  Pogis  deserting 
you.  Of  course,  it's  all  right  for  a  husband  to 
have  a  good  time  so  long  as  he  isn't  found  out — 

MARIANNE 

So  you  think  that's  right? 

.IUBERT    DE    SAINT-ERIC 

I  make  an  exception  in  the  case  of  Paulette's 
husband ! 

MARIANNE 

Ah!     Just  in  time! 


ACT  I]  THE   LABYRINTH  43 

HUBERT    DE    SAINT-ERIC 

But  it  is  inexcusable  for  a  man  to  throw  over  a 
woman  like  you,  out  of  sheer  frivolity — 

PAULETTE 

Everybody  agrees  to  that;  don't  rub  it  in. 
Come ! 

HUBERT    DE    SAINT-ERIC 

[Sitting  down.~\  Oh,  I  have  my  own  ideas  on 
that  subject.  I  have  often  regretted  your  retire- 
ment from  society;  it  seems  too  bad  to  let  all  your 
charms  go  to  waste — 

MARIANNE 

You've  been  gallant  enough  to-day.  Suppose 
you  stop  now. 

HUBERT    DE    SAINT-ERIC 

No — no.  Believe  me,  that  fool  Max  would  eat  his 
heart  out  if  he  saw  you  go  into  society  again — 

PAULETTE 

[Impatiently.]      Oh,  it  would  be  fine!     Come! 

HUBERT    DE    SAINT-ERIC 

[More  and  more  at  home.]  I'm  just  thinking! 
What  a  face!  I  don't  think  I  could  help  whis- 
pering in  his  ear,  "Aha!  the  woman  you  left — 
well,  see  how  everybody  wants  her!  Look  at  this 
fellow!  Look  at  him!" — 

PAULETTE 

Will  he  ever  stop? 


U  THE    LABYRINTH  [Acr  I 

HUBERT    DE    SAINT-ERIC 

But  then  Max  would  not  need  any  other  in- 
fluence to  get  angry  at  your  success.  He'd  know 
very  well,  all  by  himself  how  to  rage  about  in 
truly  appropriate  style ! 

PAULETTE 

[Urgently.]  You  old  gossip,  aren't  you  ever 
coming  ? 

MARIANNE 

Don't  you  hear  your  wife  champing  the  bit? 

HUBERT    DE    SAINT-ERIC 

[Rising  at  last.]  Honestly,  haven't  you  ever 
been  tempted  to  avenge  yourself  that  way? 

MARIANNE 

Never  until  to-day. 

PAULETTE 

[Begging  and  scolding.]      Hubert! 

HUBERT    DE    SAINT-ERIC 

Think  about  it. 

MARIANNE 

I  am  thinking  about  it. 

HUBERT    DE    SAINT-ERIC 

Good!  We'll  talk  about  it  again.  May  I  pay 
my  compliments  to  your  mother? 

MARIANNE 

She  is  out. 


ACT  I]  THE   LABYRINTH  45 

HUBERT    DE    SAINT-ERIC 

May  I  at  least  see  your  father? 

PAULETTE 

He  is  busy.     Come,  now. 

HUBERT    DE    SAINT-ERIC 

Then  I'll  be  back. 

PAULETTE 

[Aside.]     Oh! 

HUBERT    DE    SAINT-ERIC 

[Seeing  MME.  VILARD-DUVAL  enter  through  the 
upper  door  at  the  left.]  What  were  you  telling 
me?  You  are  here,  then,  aunt? 

MME.    VILARD-DUVAL 

I  just  came  in.  What  a  pleasant  surprise  to 
find  you  both  here !  I  didn't  know  you  were  back. 

HUBERT    DE    SAINT-ERIC 

How's  that?  Paulette  was  with  your  daughter 
all  day  yesterday. 

MME.    VILARD-DUVAL 

Yesterday  ?     What  is  this  ? 

PAULETTE 

[To  MME.  VILARD-DUVAL.]  If  Marianne  told 
you  nothing  about  it,  aunt,  it's  my  fault. — I  came 
back  from  the  country  in  such  a  hurry  to  see  the 
dressmakers  and  the  milliners — and  I  carried  off 
your  daughter  without  asking  to  see  you.  [To 


46  THE    LABYRINTH  [Acr  I 

HUBERT.]  And  when  I  saw  how  rude  I'd  been, 
I  could  do  only  one  thing:  beg  Marianne  not  to 
tell  my  aunt  of  my  return. 

HUBERT    DE    SAINT-ERIC 

[To  PAULETTE.]      This  isn't  what  you  told  me. 

MARIANNE 

[To  HUBERT.]     What  was  the  use? 

HUBERT    DE    SAINT-ERIC 

[Pretending  not  to  care.]  None,  none  what- 
ever. 

PAULETTE 

[To  MME.  VILARD-DUVAL,  quickly  and  aside,  while 
her  husband,  with  his  back  turned,  walks  up  and 
down,  pulling  at  his  mustache.]  Forgive  me, 
aunt! 

HUBERT    DE    SAINT-ERIC 

[Turning  to  MARIANNE,  with  a  forced  smile.] 
You  can  easily  understand,  I  am  a  little  sur- 
prised.— It  is  rather  unusual — ? 

MARIANNE 

[Hiding  her  embarrassment  as  she  hastens  to 
reply.]  Why,  no,  I — 

MME.    VILARD-DUVAL 

[Cutting  MARIANNE  short  and  taking  charge  of 
the  matter  herself. — To  HUBERT.]  You'll  soon 
understand  how  simple  it  all  is.  [HUBERT  moves 
toward  her,  expressing  his  complete  confidence  in 
her. — To  PAULETTE.]  My  daughter  has  no  secrets 
from  me.  I  know  how  she  occupied  every  moment 


ACT  I]  THE   LABYRINTH  47 

of  her  time  yesterday.  And  since  she  didn't  want 
to  make  you  feel  bad  for  neglecting  me,  we  agreed 
that  I  should  pretend  to  be  surprised  when  at  last 
you  were  kind  enough  to  come  and  see  me — 

PAULETTE 

[Embarrassed.]      Oh,  aunt — 

MME.    VILARD-DUVAL 

— [To  HUBERT.]      I've  just  been  playing  my  part. 

HUBERT    DE    SAINT-ERIC 

[Obviously  relieved.]  Good!  Just  think,  for  a 
moment — [He  stops,  unwilling  to  admit  that  he 
came  near  thinking  his  wife  had  been  unfaithful.] 
Well,  we're  losing  time,  talking  this  way.  [Look- 
ing at  his  watch.]  I  forgot,  I  have  an  engage- 
ment at  the  club.  I'm  very  sorry  to  leave  you, 
aunt.  [He  kisses  MME.  VILARD-DUVAL'S  hand.  To 
MARIANNE,  who  accompanies  him  to  the  door  at 
the  back.]  Good-bye.  [To  his  wife.]  Come, 
Paulette,  take  me  along. 

PAULETTE 

[To  MME.  VILARD-DUVAL.]  I  want  to  ask  your 
pardon  for — 

MME.    VILARD-DUVAL 

Trot  along  with  your  husband.  You  may  call 
on  me  again  soon.  You  owe  me  a  visit. 

[HUBERT  and  PAULETTE  go  out.] 

You're  surprised  at  your  mother?  You  didn't 
think  she  had  such  deceits  at  hand?  Well?  Sud- 


48  THE    LABYRINTH  [Acr  I 

denly  I  saw  that  if  I  didn't  say  something  I  should 
perhaps  be  the  cause  of  a  ruined  family.  It  was 
only  common  charity  to  act  as  I  did. 

MARIANNE 

Dearest  mother,  you  are  better  than  I  am;  I 
should  have  been  unequal  to  the  task  from  sheer 
lack  of  physical  strength.  To  stand  up  and  lie 
like  that!  You  have  been  goodness  itself,  it's  al- 
most a  fault  with  you.  Now  at  last  I  feel  en- 
couraged to  come  up  for  judgment  before  you,  even 
though  you  will  think  my  intentions,  as  I  explained 
them  to  you,  very  sinful. 

MME.    VILARD-DUVAL 

Oh,  no,  when  the  evil  is  done,  I  can  only  pity 
and  hope  the  evil-doers  will  repent.  But  if  the 
evil  is  not  yet  committed,  I  have  only  one  thought: 
to  prevent  it. 

MARIANNE 

How  strict  your  principles  become  the  moment 
you  realize  that  my  fate  is  in  the  balance! 

MME.    VILARD-DUVAL 

You  are  right.  When  it  is  a  question  of  you, 
my  conscience  becomes  more  acute;  you  are  my 
daughter, 

MARIANNE 

Yes,  I  am  your  daughter,  and  as  such  I  implore 
you  to  alter  your  decision,  which  is  opposed  by 
father  and  also  by  me — 


ACT  I]  THE    LABYRINTH  49 

MME.    VILARD-DUVAL 

Your  father!  Why  should  he  approve  your 
marriage  with  M.  Le  Breuil?  He  merely  cites  a 
law  made  by  men,  a  law  which  is  only  temporary, 
which  did  not  exist  when  I  married  him,  and  which 
perhaps  will  cease  to  exist  by  the  time  you  are 
ready  to  marry.  My  child,  I  put  my  faith  in  ever- 
lasting laws,  and  I  am  opposing  you  in  the  name 
of  the  Eternal  Wisdom.  A  marriage  which  is  con- 
secrated before  God,  endures  till  either  the  hus- 
band or  the  wife  dies.  My  religion  forbids  you  to 
remarry. 

MARIANNE 

Consider,  mother;  my  unhappy  life,  instead  of 
making  me  surer  of  my  religion,  has  forced  me  to 
doubt.  Are  you  sure  you  have  the  moral  right  to 
sacrifice  me  to  your  religious  scruples,  that  belong 
to  you  only,  and  for  me  are  not  so  binding?  Don't 
you  see  that  you  are  trying  to  offer  up  a  human 
sacrifice  of  what  youth  and  life  I  still  have? 

MME.    VILARD-DUVAL 

You  cannot  make  me  admit  so  readily  that  I 
am  so  inhuman  a  mother.  Before  you  can  truth- 
fully say  I  have  sacrificed  you,  you  must  prove  that 
you  cannot  exist  without  M.  Le  Breuil,  that  you 
love  him  desperately! 

MARIANNE 

You  know  that  I  am  above  all  sincere.  I  can't 
act  a  part.  I  can't  wear  a  mask  of  sentiment 
and  exaggerate  before  you  or  Guillaume.  I  love 
him  as  deeply  as  I  am  capable  of  loving.  I  love 


60  THE    LABYRINTH  [Apr  I 

him  with  all  that  is  best  in  me,  and  in  becoming 
his  wife  I  have  too  many  beautiful  thoughts  of 
him,  our  affection  is  too  sacred  to  me — to  make 
Die  believe  that  I  am  doing  anything  wicked.  I 
Ifeel  that  if  there  was  ever  anything  evil  in  my  life 
it  was  only  that  former  marriage  which  you  are 
pleased  to  consider  always  as  "consecrated." 

MME.    VILARD-DUVAL 

You  must  not  say  that! 

MARIANNE 

Yes,  I  must!  It  is  with  Max  that  I  made  the 
mistakes  of  which  I  am  still  ashamed.  He  was 
so  unworthy! 

MME.    VILARD-DUVAL 

My  child!     You  must  not  talk  like  that! 

MARIANNE 

Yes,  I  have  known  sin,  immorality,  in  the  heat 
of  my  frantic  passion  for  Max,  and  I  have  known 
them  in  the  despicable  hope  of  his  taking  me  back. 
I  have  known  them  in  all  the  memories  Max  left 
me,  good  or  bad! 

MME.    VILARD-DUVAL 

My  poor  child!  Listen  to  her  talk  about  Max! 
See,  I  understand  you,  you  aren't  cured  yet  of 
your  love  for  him. 

MARIANNE 

What?  You  have  no  right  to  think  that.  I 
hate,  I  despise  him,  as  the  man  who  ruined  my  life! 


ACT  I]  THE   LABYRINTH  51 

MME.    VILARD-DUVAL 

He  was  undoubtedly  guilty;  I  should  never 
dream  of  defending  him.  But  I  don't  want  you  to 
excite  yourself  for  nothing,  to  arouse  worse  and 
bitter  thoughts  of  him.  I  am  sure  M.  de  Pogis  is 
repentant  for  what  he  has  done.  The  people  who 
have  met  him  say  that  he  goes  about  with  a  down- 
cast air,  looking  bad,  like  a  man  who  had  done 
something  against  his  will. 

MARIANNE 

Nonsense!  When  his  infidelity  was  no  longer 
a  matter  of  doubt,  did  he  try  to  defend  himself? 
To  learn  how  I  intended  to  dispose  of  him  and 
myself?  Do  you  remember?  He  deserted  me — 
disappeared — 

MME.    VILARD-DUVAL 

Exactly — he  didn't  dare  to  come  to  you  again. 
He  acted  like  a  crazy  man.  Since  then,  I  have 
often  thought  that  your  separation  was  merely  the 
result  of  a  misunderstanding. 

MARIANNE 

A  misunderstanding?  I  cannot  believe  that.  It 
would  have  been  worse  still  if  I  had  been  defeated 
merely  through  a  mistake.  Let's  not  talk  about 
that,  there's  no  use  discussing  it.  Max  will  always 
remain  a  perfect  stranger  to  me.  He  has  erected 
between  us  the  barrier  of  his  new  marriage,  and 
everything  invites  me  to  pay  him  back  in  the  same 
coin.  The  love  of  another  man  has  been  offered 
to  me,  a  deep  and  sincere  love,  and  my  acceptance 
of  that  will  show  M.  de  Pogis  that  his  desertion 


52  THE    LABYRINTH  [Acr  I 

has  not  altogether  ruined  my  life.  You  see,  it 
would  be  too  absurd,  too  cruel,  to  refuse  Guillaume; 
he  is  so  generous,  and  he  adores  me.  He  has  just 
asked  me  to  make  him  happy,  and  obtain  your  con- 
sent to  the  marriage.  And  now  you  tell  me,  at 
this  moment  when  I  feel  I  cannot  give  him  up,  that 
I  •  ought  to  carry  back  your  answer  to  him,  that 
we  must  break  off  our  relations ! 

MME.    VILARD-DUVAL 

It's  not  as  bad  as  that,  my  dear.  There  can 
exist  friendship  and  good  feeling,  and  even  devo- 
tion between  you;  that  is  quite  honorable. 

MARIANNE 

You  are  mistaken.  At  this  moment  I  am  in  a 
compromising  position.  Oh,  yes,  I  am.  Seeing 
how  assiduous  M.  Le  Breuil  was  to  me,  people 
don't  think  him  merely  a  suitor;  "A  divorced 
woman  thinking  of  taking  a  second  husband?  Non- 
sense." They  have  done  me  the  honor  of  con- 
sidering my  attitude  as  strictly  within  the  bounds 
of  convention,  but  they  say — they  say  that  Guil- 
laume is  my  lover. 

MME.    VILARD-DUVAL 

Oh,  Marianne!     How  awful! 

MARIANNE 

I  am  telling  you  simply  what  Paulette  has  just 
told  me.  After  this,  do  you  think  we  can  continue 
to  receive  M.  Le  Breuil,  as  we  have? 

MME.    VILARD-DUVAL 

No,  my  child,  decidedly  not. 


ACT  I]  THE   LABYRINTH  53 

MARIANNE 

Consequently,  you  say  that  he  must  not  come 
again  except  as  your  son-in-law — 

MME.    VILARD-DUVAL 

I  repeat:  I  shall  never  consent  to  that. 

MARIANNE 

Then  must  my  best,  my  dearest  friend,  be  shown 
the  door? 

MME.    VILARD-DUVAL 

We  shall  have  to  handle  the  matter  delicately 
with  him.  His  respect  for  you  will  show  him  how 
necessary  that  will  be. 

MARIANNE 

So  that  is  the  solution  you  propose,  mother?  So 
calmly  and  coolly?  You  think  I  ought  to  end  my 
days  like  a  little  girl,  become  an  old  maid,  be  with- 
out a  home  of  my  own,  while  I  see  my  friends  liv- 
ing out  their  lives  with  those  they  love.  And  then 
see  the  man  who  broke  up  my  home  making  an- 
other for  himself !  I  see  his  accomplice  at  his 
side,  that  woman  who  has  a  past,  and  who  has 
still  a  present  and  a  future.  I  see  all  the  other 
women  with  their  husbands,  some  even  with  a  hus- 
band and  a  lover!  I  see  everyone  enjoying  his 
share  of  love!  And  I,  if  I  dare  to  love  I  am 
slandered,  I  am  prevented  from  showing  my  love, 
even  from  feeling  it.  I'm  locked  in  a  prison, 
bound,  strapped  hand  and  foot! 


54  THE    LABYRINTH  [Acr  I 


MME.    VILARD-DUVAL 

How  excited  you  are!  I  haven't  seen  you  in 
such  a  state  since  the  breaking-up  of  your  home! 

MARIANNE 

I  have  been  meek  for  too  long!  I  have  decided 
to  give  the  lie  at  once  to  all  the  slander  and  gos- 
sip that  has  been  said  of  me !  Hitherto,  it  was 
mere  talk,  now  it  is  downright  libel.  To-morrow, 
all  those  who  are  prejudiced  will  blame  me,  but 
I  shan't  care.  If  they  have  thought  me  Guillaume's 
mistress,  I  shall  save  my  reputation  in  my  own 
way  and  according  to  the  law,  by  becoming  his 
wife,  legitimately,  in  the  eyes  of  the  world. 

MME.    VILARD-DUVAL 

Marianne,  is  that  a  threat  to  disobey  me? 

MARIANNE 

In  taking  so  important  a  step,  my  father  has 
promised  to  support  me  even  if  he  should  be  the 
only  one  to  stand  by  me,  and  yet  he  has  the  pro- 
foundest  respect  for  your  principles. 

MME.    VILARD-DUVAL 

Oh!  Very  well!  very  well!  Carry  out  to- 
gether your  plot  against  me. 

MARIANNE 

[Retaining  her.]  Dearest  mother,  don't  judge 
me  now  by  what  you  are,  but  by  what  I  am.  The 
only  wrong  I  can  see  is  in  disobeying  you — I  see 
none  whatever  in  remarrying.  You  have  always 


ACT  I]  THE    LABYRINTH  55 

been  the  best  of  mothers  to  me.  Consider  now, 
isn't  it  your  duty,  your  sacred  duty,  to  prevent  my 
doing  this  against  your  will?  Leave  me  free  to  de- 
cide my  own  future,  and  let  me  do  it  without  dis- 
obeying you. 

MME.    VILARD-DUVAL 

What  can  I  say?  I  hardly  know  what — No,  I 
cannot  give  up  my  religion. 

MARIANNE 

Mother ! 

MME.    VILARD-DUVAL 

But  I  can  never  give  you  up.  No  matter  what 
sin  you  commit  you  will  always  be  my  daughter. 

[She  turns  toward  the  door  half-way  up  stage  to 
the  left.] 

MARIANNE 

Oh,  please,  mother.  Just  one  word  more.  Do 
not  leave  me.  Don't  go  away  like  this.  Speak  to 
me,  please.  A  few  kind  words — 

MME.    VILARD-DUVAL 

You  may  do  as  you  like. 

MARIANNE 

Oh! 

MME.    VILARD-DUVAL 

I  pray  that  God  may  not  punish  you. 
[She  goes  out.] 

MARIANNE 

[To  GUILLAUME,  who  enters  through  the  door  to 
the  left.]  Oh,  you  are  here! 


56  THE    LABYRINTH  [Acr  I 

GUILLAUME    LE    BREUIL 

[Stopping.]  Didn't  you  ask  me  to  come  back? 
What  is  the  matter? 

MARIANNE 

Ask  my  father  to  come  here.  [To  herself.]  If 
I  hesitate  now,  I  shall  never  again  have  the  cour- 
age. 

GUILLAUME    LE    BREUIL 

[On    the    threshold,    to    VILARD-DUVAL.]      Your 
daughter  is  asking  for  you.      [Returning  to  MARI- 
ANNE.]     What  is  it? 
[VILARD-DUVAL  has  entered.] 

MARIANNE 

[To  GUILLAUME.]      I  will  be  your  wife. 

GUILLAUME    LE    BREUIL 

Oh!  my  dearest  love1 

VILARD-DUVAL 

[To  MARIANNE.]  You  have  spoken  to  your 
mother?  What  did  she  say? 

MARIANNE. 

She  repulsed  me — sent  me  back  to  you.  Take 
me  into  your  arms. 

VILARD-DUVAL 

My  duty  is  a  very  painful  one,  between  my  wife 
and  you.  But  I  believe  you  are  right.  [To 
GUILLAUME.]  From  now  on  you  are  my  son-in-law. 

GUILLAUME    LE    BREUIL 

Thank  you,  thank  you,  with  all  my  heart.  Oh, 
Marianne,  my  life  is  yours! 


ACT    II 

A  drawing-room  furnished  in  the  modern  style.  At 
the  right,  two  windows  opening  from  the  en- 
tresol, through  which  is  seen  the  foliage  of  an 
avenue  of  trees.  To  the  left,  up-stage,  a  large 
vestibule  connecting  with  the  hall,  serves  as 
entrance.  As  the  curtain  rises,  MARIANNE 
leaves  the  group  which  is  in  the  vestibule. 
HUBERT  follows  her. 

MARIANNE 

[Standing  by  a  tea-tray,  with  coffee  on  it, — to 
HUBERT.]      Shall  I  help  you? 

HUBERT    DE    SAINT-ERIC 

Yes,  indeed,  since  my  wife  lias  forgotten  that  she 
is  hostess. 

PAULETTE 

[Hearing  this,  and  answering  from  a  distance.] 
We're  talking;  leave  us  alone. 

HUBERT    DE    SAINT-ERIC 

[To  MARIANNE.]    I  hope  you  and  Guillaume  will 
pardon  us  for  the  wretched  lunch  we  offered  you. 
But  you  see,  as  we  are  leaving  for  the  country  this 
very  evening,  the  house  is  all  upset. 
£7 


58  THE    LABYRINTH  [Acr  n 

MARIANNE 

Your  hospitality  has  already  exceeded  the  bounds 
of  what  one  might  expect.  A  little  lunch  was  all 
that  you  intended;  a  lunch  to  which  your  little  one 
invited  mine  before  they  separated  for  the  summer. 
By  the  way,  what  became  of  them? 

HUBERT    DE    SAINT-ERIC 

[Philosophically.]  They're  probably  ruining  my 
billiard  table. 

MARIANNE 

[To  GUILLAUME.]  Will  you  go  and  see  what 
Louis  is  doing! 

GUILLAUME    LE    BREUIL 

[Answering  from  the  other  end  of  the  room.] 
I'm  going,  dearest. 

PAULETTE 

[Following  GUILLAUME.]      We'll   bring  you   the 
news. 
[GUILLAUME  and  PAULETTE  disappear.] 

MARIANNE 

Are  you  glad  to  leave  Paris? 

HUBERT    DE    SAINT-ERIC 

This  year  I  am  not  glad,  no — the  way  my  va- 
cation is  going  to  be  spent. 

MARIANNE 

What  do  you  mean? 


ACT  II]  THE    LABYRINTH  59 


HUBERT    DE    SAINT-ERIC 

Well,  while  we  are  alone,  I  want  to  ask  you  a 
favor — it's  about  my  wife — 

MARIANNE 

What's  the  matter? 

HUBERT    DE    SAINT-ERIC 

It's  a  rather  delicate  subject. 

MARIANNE 

Well,  what  is  it? 

HUBERT    DE    SAINT-ERIC 

Paulette's  relations  with  me  aren't  any  longer 
what  they  ought  to  be. 

MARIANNE 

[Troubled.]      Where  did  you  get  that  idea? 

HUBERT    DE    SAINT-ERIC 

I  know  whereof  I  speak. 

MARIANNE 

[Prudently.]      Oh! 

HUBERT    DE    SAINT-ERIC 

Understand  me  clearly.  It's  all  very  well  for 
me  to  be  officially,  according  to  the  law  and  to  all 
appearances,  Paulette's  husband;  but  she  refuses  to 
give  me  that  impression. 


60  THE    LABYRINTH  [Acr  II 

MARIANNE 

[Assured.]  Ah! — And  what  grounds  have 
you — ? 

HUBERT    DE    SAINT-ERIC 

Since  I  have  asked  you  to  be  my  legal  adviser,  I 
should  conceal  nothing  from  you,  should  I?  It  is 
to  a  certain  extent  my  own  fault.  You  know  I'm 
light-hearted  by  nature.  My  associates  at  the  club 
are  good  fellows, — like  me.  Sometimes  I  find  my- 
self dragged  into  one  of  those  little  parties  where 
there  are  young  ladies  who  are  no  less  gay  than 
I— 

MARIANNE 

Why,  it's  flat  infidelity  you're  telling  me  about! 

HUBERT    DE    SAINT-ERIC 

Oh,  no !  I  am  merely  telling  you  of  an  unhappy 
combination  of  circumstances.  One  day  my  wife 
was  told  of  one  of  my  little  escapades — it  was  al- 
most involuntary;  I  never  gave  it  a  second  thought. 
She  didn't  give  me  a  chance  to  defend  myself,  or 
make  amends.  Paulette  tried  to  turn  a  simple 
farce  into  a  tragedy.  She  made  the  most  of  that 
incident.  She  insisted  on  a  separation  that  I  now 
deeply  regret.  I'm  all  cut  up.  If  I  were  con- 
ceited perhaps  I  should  be  flattered  at  having  my 
wife  prove  to  me  by  her  deep  concern  for  what 
I  had  done  that  she  still  loves  me,  even  after  so 
many  years  of  married  life. 

MARIANNE 

[Good-naturedly.]  You  see,  she  is  giving  you 
a  proof — 


ACT  II]  THE   LABYRINTH  61 

HUBERT    DE    SAINT-ERIC 

[Simply  and  sincerely.]  Yes,  but  I'm  not  con- 
ceited. 

MARIANNE 

My  dear  friend,  what  can  I  do,  under  the  cir- 
cumstances ? 

HUBERT    DE    SAINT-ERIC 

Paulette  has  a  great  deal  of  confidence  in  your 
judgment.  Assure  her  that  my  crime  is  not  un- 
pardonable. You  know  very  well  that  at  bottom, 
under  my  Parisian's  mask  of  frivolity  and  idleness, 
I  am  a  very  devoted  husband,  that  I  would  do  any- 
thing for  my  wife  or  my  children.  When  I  leave 
her,  I  tell  you  I  leave  my  whole  affection.  It's 
because  I  have  too  much  happiness  at  home  that 
sometimes,  away  from  home,  I  want  to  have  a  little 
amusement,  which  is  merely  an  overflow  of  happi- 
ness— 

MARIANNE 

Don't  say  any  more;  I  understand;  for  some 
months  you're  going  to  be  at  a  distance  of  five 
hours  from  this  "superfluity  of  happiness."  A  wise 
man  is  speaking  through  your  lips  to-day,  asking 
from  the  gods  only  what  is  needful. 

HUBERT    DE    SAINT-ERIC 

Don't  make  game  of  me.  Promise  that  when 
you're  with  my  wife  you'll  put  in  a  good  word 
for  me. 

MARIANNE 

I'll  do  my  best. 


62  THE    LABYRINTH  [Acr  II 

HUBERT    DE    SAINT-ERIC 

Don't  seem  to  be  asking  a  favor.  Make  it  ap- 
pear a  supreme  desire  on  your  part  for  harmony 
between  your  friends. 

MARIANNE 

I'll  tell  Paulette  that  it  will  be  a  favor  and  a 
pleasure  for  me, 

PAULETTE 

[Returning  with  GUILLAUME.]  While  you  were 
so  quiet  here  we  were  stopping  a  fight  between  the 
children. 

HUBERT    DE    SAINT-ERIC 

How  was  that? 

GUILLAUME    LE    BREUIL 

[To  MARIANNE.]  Your  boy  started  pummeling 
Toto. 

MARIANNE 

Oh! 

PAULETTE 

Toto  began  it.     He  was  teasing.     He  cheated — 

HUBERT    DE    SAINT-ERIC 

Loulou  ought  to  have  come  and  complained. 

PAULETTE 

Just  what  I  told  him.  He  said  that  in  defend- 
ing himself  with  his  fists  he  was  only  practicing 
what  Guillaume  had  taught  him. 


ACT  II]  THE   LABYRINTH  63 

MARIANNE 

The  little  liar! 

OUILLAUME    LE    BREUIL 

No,  dear  Marianne,  Loulou  never  lies ;  he  is  truly 
your  son.  When  my  little  friend,  your  son,  and  I 
are  chatting  together  I  merely  inculcate  certain 
principles,  the  result  of  which  I  admit  has  been 
unfortunate.  On  behalf  of  your  cousins,  I  ask  your 
forgiveness. 

HUBERT    DE    SAINT-ERIC 

Oh,  a  few  scratches  and  thumps ! — Necessary  for 
a  growing  boy!  [To  PAULETTE.]  Look  after 
Guillaume's  coffee ;  I  have  to  telephone.  [He  goes 
out.] 

[PAULETTE  goes  back  to  prepare  a  cup  of  coffee.] 

MARIANNE 

[Dorvn-stage,  with  GUILLAUME.]  So  you  give  my 
son  lessons  in  war  and  bloodshed? 

GUILLAUME    LE    BREUIL 

I  told  him  that  a  boy  ought  to  have  something 
better  to  do  than  tell  tales  on  his  companions.  I 
hold  that  if  someone  wrongs  us  the  last  method  of 
gaining  satisfaction  is  to  apply  to  someone  else. 
I  tell  you  I  don't  want  to  see  your  boy  become  one 
of  those  puppets — of  which  our  schools  are  turn- 
ing out  hundreds — which  are  worked  only  by  the 
strings  of  convention  and  social  usage.  I  tell  him 
that  he  must  be  a  free  man  later  on,  and  must  never 
hesitate  to  use  force  if  his  rights  are  threatened. 


64  THE   LABYRINTH  [Acr  II 

PAULETTK 

Your  coffee  is  ready. 

GUILLAUME    LE    BREUIL 

Thank  you. 

[PAULETTE  goes  to  the  left,  and  with  some  books 
•finishes  packing  a  valise  which  lies  open  upon 
a  chair.  Then  she  touches  the  button  of  the 
electric  bell.] 

MARIANNE 

Since  you  assume  the  responsibility  of  what  the 
child  has  done,  I  have  only  you  to  scold — yes, 
scold !  You're  teaching  my  son  the  morality  of  an 
athlete;  it  isn't  your  own  code  of  morals,  it  has 
nothing  to  do  with  you.  I  beg  of  you,  don't  build 
up  a  character  in  him  from  which  he  would  be  the 
first  to  suffer. 

GUILLAUME    LE    BREUIL 

Marianne,  have  I  made  you  angry? 

MARIANNE 

It's  not  your  fault,  my  dear  Guillaume ;  you  can't 
possibly  feel  what  I  do  for  my  little  one!  Every 
time  he  is  concerned  I  am  at  once  on  my  guard, 
fearful  for  the  future. 

GUILLAUME    LE    BREUIL 

But  have  you  any  idea  how  fond  I  am  of  your 
little  one ! 

MARIANNE 

And  he  of  you ! 


ACT  II]  THE    LABYRINTH  65 

HUBERT    DE    SAINT-ERIC 

[Re-entering.]  Come,  Guillaume,  you  promised 
to  take  a  look  at  the  horses  I'm  thinking  of  buy- 
ing. Hurry  up  and  finish  your  coffee. 

GUILLAUME    LE    BREUIL 

[To  HUBERT.]  One  moment!  [To  MARIANNE.] 
Tell  me  that  you  will  have  nothing  more  to  do  with 
me! 

MARIANNE 

Nothing  more — ever. 

PAULETTE 

[To  the  maid,  for  whom  she  rang.]  Get  my 
hat  and  cloak. 

HUBERT    DE    SAINT-ERIC 

[To  PAULETTE.]      Have  to  go  out? 

PAULETTE 

I  have  some  errands  to  do  that  will  take  me 
all  day. 

HUBERT    DE    SAINT-ERIC 

Always  shopping!  [PAULETTE  does  not  answer — 
He  speaks  to  MARIANNE.]  The  moment  after  she 
comes  in,  out  she  goes.  Can't  keep  from  doing  it ! 
Tell  me  what  the  devil  is  in  the  woman ! 

MARIANNE 

I  can't  tell  you. 

HUBERT    DE    SAINT-ERIC 

[Aside  to  MARIANNE.]  Don't  forget,  now,  what 
I  asked  you  to  do  ? 


66  THE   LABYRINTH  [Acr  II 

MARIANNE 

I  shall  see  to  that.  [She  shakes  hands  with 
him,  and,  with  a  significant  smile,  says:]  A  pleas- 
ant summer! 

GUILLAUME    LE    BREUIL 

[To  PAULS-TIE.]     Well,  good-bye ! 

PAULETTE 

[Sadly.]      Till  November! 

GUILLAUME    LE    BREUIL 

[With  a  tone  of  reassurance.]  It  will  soon  be 
here.  [To  MARIANNE.]  How  I  wish  I  did  not  have 
to  leave  you! 

MARIANNE 

I  shall  see  you  soon  at  the  house.  [GUILLAUME 
and  HUBERT  leave.]  Have  you  a  few  moments? 

PAULETTE 

A  quarter  of  an  hour  yet.  Let's  make  use  of 
the  time.  Doubtless  you'd  like  to  know  what  your 
husband  wanted  of  me,  while  he  was  with  me  over 
there?  He  told  me  how  sorry  he  was  that  your 
mother  wouldn't  consider  him  her  son-in-law. 

MARIANNE 

Oh,  yes,  she  calls  him  Monsieur.  Poor  dear 
mother !  She  tried  as  hard  as  she  could  to  show 
that  she  had  not  changed  toward  me.  But  she  can- 
not bear  to  hear  me  say  the  nice  things  about  Guil- 
laume  that  I  want  to  tell.  Between  her  and  me 
there  is  a  silent  grief. 


ACT  II]  THE  LABYRINTH  67 

PAULETTE 

Your  husband  spoke  to  me  about  you  also.  And 
how  warmly !  How  simply !  After  two  years  of 
married  life,  don't  such  extravagances  surprise 
you  ? 

MARIANNE 

Guillaume  is  one  of  those  whose  love  grows  where 
once  it  has  taken  root.  I'm  not  thinking  whether 
I'm  surprised  or  not;  I  feel  that  it  is  strong  and 
good,  like  Nature  itself. 

PAULETTE 

Guillaume  is  j  ust  the  husband  for  you !  Fortune 
owed  you  that  compensation.  And  this  last  year 
we  have  had  occasion  to  see  that  there  is  a  Justice 
to  deal  retribution  as  well! 

MARIANNE 

It  seems  so! 

PAULETTE 

What  a  blow  for  Max,  to  lose  the  woman  whom 
he  placed  above  everything  else  in  the  world !  After 
having  so  frantically  mourned  for  you,  here  he  is 
to-day  a  widower  again !  At  thirty-eight  it  is  his 
fate  to  remain  alone  through  life!  For  he  is 
hardly  allowed  to  see  your  son,  is  he;  or  has  he 
a  partial  guardianship? 

MARIANNE 

I  was  forced  to  have  Louis  taken  two  afternoons 
a  week  to  the  home  of  Mme.  de  Pogis,  Max's 
mother.  I  shall  grant  nothing  further. 


68  THE   LABYRINTH  [Acr  II 

PAULETTE 

There  wasn't  talk  of  that,  was  there? 

MARIANNE 

Oh,  yes.  I  have  j  ust  been  troubled  with  attempts 
in  that  direction.  Mme.  de  Pogis  wrote  me  two 
weeks  ago,  and  again  a  week  ago.  I  answered  in 
a  rather  curt  fashion  which  will,  I  imagine,  cut 
short  further  correspondence.  But  let's  talk  about 
your  affairs.  Your  husband  has  just  been  speaking 
of  his  trouble  with  you. 

PAULETTE 

Oh,  he  decided  to  tell—! 

MARIANNE 

I  know  you  have  imposed  a  penance  on  him. 

PAULETTE 

Did  he  pride  himself  on  the  reason  ? 

MARIANNE 

He  confesses  that  he  was  just  carried  away.  But 
if  you  go  on  much  longer,  you  may  lose  him  en- 
tirely. 

PAULETTE 

He  may  do  whatever  he  likes,  so  long  as  he  asks 
nothing  of  me! 

MARIANNE 

Don't  you  think  you're  holding  your  judgment 
against  him  too  long?  Please  don't  be  angry  at 


ACT  II]  THE    LABYRINTH  C9 

what  I'm  going  to  remind  you  of:  one  day  when  it 
was  absolutely  necessary,  more  than  two  years  ago, 
you  confided  to  me  that  you  yourself  were  not  above 
reproach.  We  never  referred  to  that  subj  ect  again, 
and  I  should  like  to  believe  that  that  was  only  a 
moment  of  folly  in  your  life.  I  speak  of  this  in 
order  to  teach  you  a  lesson  in  forgiveness,  by  which 
your  husband  may  profit. 

PAULETTE 

I  have  not  forgotten  the  incident,  nor  how  you 
railed  against  women  who  are  unfaithful. 

MARIANNE 

Yes,  I  remember.  My  opinions  on  that  sub- 
ject will  never  change;  the  idea  of  a  woman  sink- 
ing to  such  depths  of  ignominy — my  flesh  creeps ! 
For  my  part,  I  prefer  flight  a  thousand  times,  even 
death! 

PAULETTE 

Give  me  credit  at  least  for  having  adopted  the 
first  pretext  to  have  to  do  with  only  one  man. 

MARIANNE 

But  I  never  advised  you  to  choose  among  lovers ! 
You  belong  to  your  husband  alone ! 

PAULETTE 

Your  instinct  tells  you  that;  and  so  does  mine. 
And  the  kiss  which  my  instinct  condemns  as  the 
most  impure  is  not  the  one  forbidden  by  law;  it  is 
rather  the  kiss  that  is  not  wanted ! 


70  THE   LABYRINTH  [Acr  II 

MARIANNE 

I  think  so  highly  of  a  woman's  modesty  that  I 
cannot  conceive  how  a  man  can  overcome  it  except 
by  marriage,  in  which  he  promises  his  whole  life 
and  shares  his  name! 

PAULETTE 

But  just  think  of  the  only  too  prosaic  side  of 
love ! — A  woman  forgets  all  about  it  with  her  lover, 
while  she  is  thrilled  with  fear  and  boldness,  while 
he  intoxicates  her  with  declarations  of  love  and 
appreciation — but  a  husband — who  assumes  that  he 
has  conquered  you,  once  for  all ! 

MARIANNE 

Without  that  title,  every  man  who  comes  near 
would  seem  like  a  madman,  a  satyr.  But,  through 
the  magic  of  the  words,  "my  husband,"  I  feel  that 
in  the  presence  of  the  man  to  whom  they  refer  I 
have  no  restriction,  no  individuality. 

PAULETTE 

I  assure  you  I  am  on  very  friendly  terms  with 
my  husband.  But  I  cannot  admit  that  my  personal 
privacy  should  be  of  daily  interest  to  him.  No,  you 
see,  married  life  and  its  tacitly  accepted  conven- 
tions are  what  make  human  beings  most  like  ani- 
mals. 

MARIANNE 

What  seems  to  bring  us  nearer  the  beasts  is  to 
ignore  duty,  to  form  more  or  less  transitory  alli- 
ances, to  wish  to  be  carried  away  by  attentions,  to 


ACT  II]  THE    LABYRINTH  71 

give  ourselves  up  for  glittering  toys !  It's  clear 
that  you  and  I  feel  quite  differently  about  this  mat- 
ter; we  can  never  agree. 

PAULETTE 

Who  knows?     We  are  women.     We  ought  to  be 
more  alike  than  we  imagine. 
[Enter  a  SERVANT.] 

What  is  it? 

SERVANT 

[Giving  her  a  letter.]  The  gentleman  is  wait- 
ing. 

PAULETTE 

I  seem  to  know  that  writing — [Having  torn  open 
the  letter.]  Oh,  very  well!  [To  the  SERVANT.] 
Say  that  I  shall  answer.  [The  SERVANT  leaves.] 
Mme.  de  Pogis,  senior,  asks  to  call. 

MARIANNE 

I  thought  she  was  on  sufficiently  good  terms  with 
you  to  call  without  asking  permission. 

PAULETTE 

That  is  because  she  asks  me  to  see  your  former 
husband  at  the  same  time. 

MARIANNE 

Him! 

PAULETTE 

They  are  both  downstairs  now. 

MARIANNE 

[Frightened.]     Oh! 


72  THE   LABYRINTH  [Acr  II 

PAULETTE 

They  came  to  get  me  to  negotiate  about  your  boy. 

MARIANNE 

I  said  no,  and  no  it  is! 

PAULETTE 

Mme.  de  Pogis  begs  me  for  your  own  sake  to 
intervene.  Here  it  is;  for  your  own  sake. 

MARIANNE 

She's  too  kind ! 

PAULETTE 

She  is  very  scrupulous.  If  she  is  led  to  say 
that  it  is  in  your  interest,  you  may  be  certain  it  is. 

MARIANNE 

But  how  ?  You  frighten  me ! — Very  well,  let's 
find  out  at  once  what  is  behind  this. 

PAULETTE 

Marianne,  I  must  go.  I  cannot,  just  this  mo- 
ment, receive  these  visitors,  when  I  could  not  after- 
ward interrupt  by  leaving,  and  offend  them. 

MARIANNE 

Well,  when  will  you  see  them,  if  you  are  going 
away  this  morning?  How  can  I  possibly  talk  with 
you  again,  after  they  leave?  You  have  accused 
me  of  being  too  much  occupied  with  my  child,  and 
now  you  want  me  to  keep  him  in  mind  indefinitely ! 


ACT  II]  THE    LABYRINTH  73 


PAULETTE 


Don't  you  see,  my  dear,  I'm  all  excited?  My 
next  hour  is  not  my  own;  I've  promised  it  to 
some  one,  given  it  away !  Ought  I  to  torture  him 
by  making  him  wait,  as  well  as  by  saying  good- 
bye? 

MARIANNE 

My  poor  Paulette,  I  was  selfish.  But  who  isn't? 
Kiss  me!  Do  what  you  have  decided  to,  and  let 
me  be — write  Mme.  de  Pogis  to  come  up  alone,  and 
that  I  will  see  her. 

PAULETTE 

All  right.     Why  shouldn't  I  ? 
[She  writes.] 

MARIANNE 

I  shall  take  matters  in  hand ! 

PAULETTE 

[To  the  SERVANT,  for  whom  she  has  rung.]  Take 
this  note.  [The  SERVANT  goes  out.]  How  pale 
you  are !  Come  now,  seeing  this  good  lady  again 
is  nothing  to  be  upset  about! 

MARIANNE 

To  think,  too,  that  Max — who  has  been  so  far 
away  for  five  years — is  at  this  moment  so  near ! 
If  you  didn't  feel  the  way  you  do,  I  should  have 
only  to  disappear,  and  he  could  come  in!  He 
would  be  speaking  to  you  just  as  I  am  now! 


74  THE   LABYRINTH  [Acr  II 


PAULETTE 

[Who  has  gone  io  look  out  of  the  window.]  Do 
you  want  to  see  him? 

MARIANNE 

Not  in  the  least! 

PAULETTE 

[Still  at  the  window.]  He's  with  his  mother, 
in  the  carriage — on  this  floor  we're  almost  on  a 
level  with  them.  Oh,  their  footman  is  giving  them 
my  letter.  That  handsome  Max !  He's  not 
changed  a  bit — always  charming.  Now  his  mother's 
telling  him  something  hurriedly.  I  suppose  she  is 
saying  that  you  are  here. 

MARIANNE 

What  difference  does  that  make  to  him? 

PAULETTE 

[Retiring  from  the  window.]  Oh!  He  just 
glanced  up  at  this  window! 

MARIANNE 

Did  he  see  you? 

PAULETTE 

He  had  only  time  to  see  something  white. 

MARIANNE 

Just  so  he  doesn't  flatter  himself  it  was  I ! 

PAULETTE 

What  difference  could  that  make  to  you? 


ACT  II]  THE   LABYRINTH  75 


MARIANNE 


[Troubled.]     Oh,   no  difference.     [Perfunctor- 
ily.]    Really,  none  at  all! 


PAULETTE 


Mme.  de  Pogis  will  be  here  in  a  moment.  Since 
I  scrawled  an  excuse  to  her,  I'll  leave — 

MARIANNE 

That's  it,  go.  For  the  time  being,  let  us  not 
think  of  one  another.  We  can  send  our  love  by 
letter. 

PAULETTE 

Au  revoir! 
[She  goes  out.] 

MARIANNE 

[She  is  irresistibly  drawn  toward  the  tvindom, 
looks  out,  and  suddenly  recoils.]  He  looked  up 
again ! 

MME.    DE    POGIS 

[Entering.]     You,  my  dear  child! — You! 

MARIANNE 

I  offered  to  receive  you  myself. 

MME.    DE    POGIS 

Marianne ! 

MARIANNE 

Oh,  Madame,  let  us  spare  your  nerves  and  mine ! 
Let  us  say  only  what  is  absolutely  necessary. 


76  THE    LABYRINTH  [Acr  II 


MME.    DE   POGIS 


Why  are  you  hard  on  me,  my  dear?     What  have 
I  done? 


MARIANNE 


You  have  come  to  dispute  with  me  the  posses- 
sion of  my  boy. 


MME.    DE    POGIS 


I  have  come  to  try  to  dissuade  you  from  getting 
into  another  unfortunate  lawsuit  with  Max. 


MARIANNE 


Everything  has  been  settled  between  M.  de  Pogis 
and  me. 

MME.    DE    POGIS 

You  are  mistaken.  The  guardianship  of  the 
child,  when  awarded  to  only  one  parent,  is  an 
affair  that  is  never  settled. 

MARIANNE 

Have  I  not  kept  my  part  of  the  agreement? 

MME.    DE    POGIS 

No  doubt!  But  now  it  is  my  son  who  deserves 
a  better  arrangement.  He  ought  no  longer  to  be 
deprived  almost  altogether  of  his  rights  as  a  father. 

MARIANNE 

I  do  not  deny  that.  I  shall  find  out  whether 
through  court  after  court  I  have  to  deal  with  the 
husband  who  was  branded  as  a  perjurer,  with  the 
father  who  was  judged  unworthy  the  name! 


ACT  II]  THE    LABYRINTH  77 

MME.    UK    POGIS 

You  are  very  hard  on  him !  You  are  going  too 
far !  I  have  had  many  talks  with  my  son ;  when  he 
began  to  misbehave  he  treated  the  matter  lightly, 
I  can  assure  you,  but  when  he  was  convinced  by 
you  that  his  conduct  amounted  to  infidelity,  he  was 
uncertain  how  seriously  you  took  the  affair,  and 
how  ready  you  were  to  forgive  him.  And  were 
you  yourself  sure  of  your  own  mind?  You  were 
both  so  young  at  the  time — at  an  age  when  your 
characters  and  ideas  were  too  unrelenting.  If  Max 
committed  the  worst  excesses  as  a  result,  I  might 
explain  to  you  how  in  spite  of  himself,  and  by  a 
series  of  fatal  accidents — 

MARIANNE 

Don't  bother.  My  mother,  too,  kept  preaching 
to  me  about  the  possibility  of  a  misunderstanding; 
I  don't  see  the  use  in  looking  into  it.  You  have 
come  to  start  an  argument  for  which  I  must  have 
time  to  prepare.  For  the  present,  Madame,  let  the 
matter  rest! 

MME.    DE    POGIS 

Great  Heaven,  don't  send  me  off  like  this!  You 
are  sensible  enough  to  see  how  the  situation  is 
changed.  Sit  down,  listen  to  me!  Now  it  is  not 
with  my  son,  but  with  you,  that  a  stranger  to  the 
child  has  come  to  live;  you  have  married  again. 
Max  is  a  widower;  he  considers  himself  now  from 
a  totally  different  point  of  view;  he  has  been  soft- 
ened by  misfortune.  He  considers  that  the  home 
of  the  young  Louis  de  Pogis  should  be  no  other 
than  the  hereditary  abode  of  the  de  Pogis,  with  his 
father,  Max  de  Pogis — at  least  as  much  as  with  M. 
Le  Breuil! 


78  THE    LABYRINTH  [Aci  II 

MARIANNE 

Oh,  that  is  what  he  says! 

MME.    DE    POGIS 

I  have  not  come  here  to  attack  you,  any  more 
than  to  defend  him.  I  am  equally  sorry  for  you 
both;  you  are  both  parents  of  my  grandson.  You 
must  not  bring  another  scandal  into  the  courts  and 
soil  his  innocent  name. 

MARIANNE 

Do  you  imagine  I  don't  feel  the  same  horror? 
But  who  is  it  who  is  threatening  to  drag  to  light 
again  those  wrongs  and  sufferings  of  the  past?  Is 
it  I?  Will  it  be  my  doing? 

MME.    DE    POGIS 

I  tell  you  Max  is  forced  to  do  this.  The 
wretchedness  of  his  life  has  made  him  harsh;  but 
when  he  opened  his  heart  to  me  and  told  me  of  his 
rights  as  a  father,  he  was  terribly  sorry  for  what 
he  had  done.  Even  after  your  unforgiving  answers 
he  was  always  patient.  Recently,  everything  went 
wrong,  after  Louis  stopped  coming.  What  hap- 
pened? What  did  Max  object  to?  He  was  at 
great  pains  to  hide  it  from  me,  as  when  one's  pride 
is  hurt.  And  it  was  then  that  he  returned  to  his 
lawyer,  a  man  whose  word  is  law,  whose  advice  is 
absolutely  authoritative. 

MARIANNE 

And  what  advice,  please,  did  he  offer  this  time? 


ACT  II]  THE   LABYRINTH  79 

MME.    DE    POGI8 

He  considers  that  from  now  on  the  circumstances 
in  the  case  warrant  an  equal  division  in  the  guard- 
ianship of  the  child. 

MARIANNE 

Madame,  you  cannot  make  me  believe  that !  You 
are  threatening  me!  l 

MME.    DE    POGIS 

I  swear  by  my  grandson  that  I  am  telling  you 
the  facts  as  I  have  them,  as  I  believe  them  to  be ! 

MARIANNE 

I  shall  not  doubt  your  sincerity,  but  you  must 
have  been  led  to  exaggerate  your  chances.  You 
must  be  mistaken — you  must ! 

MME.    DE    POGIS 

Max  is  never  tired  of  saying  that  he  is  an  out- 
cast, that  he  has  nothing  to  lose  and  everything  to 
gain.  And  he  is  going  ahead  at  once,  unless  you 
stop  proceedings  by  your  common-sense  and  gener- 
osity. 

MARIANNE 

[After  considerable  hesitation.]  Well — let  us 
say  I  consent  to  an  arrangement,  what  will  satisfy 
you? 

MME.    DE    POGIS 

Before  deciding  this,  I  had  in  vain  advised  my 
son  to  be  very  reasonable  in  his  demands;  I  im- 
plored him ! — You  are  dealing  with  a  soul  in  agony. 
He  will  not  rest  satisfied  until  he  has  an  equal  share 
in  the  child. 


80  THE    LABYRINTH  [Acr  II 

MARIANNE 

One  week  out  of  two!  Six  months  out  of  the 
year!  My  little  one,  who  has  not  been  out  of  my 
sight  since  he  was  born!  You  couldn't  take  him 
away  like  that!  I'd  be  only  half  a  mother  to 
him! — Oh,  no,  no!  It's  impossible! 

*  MME.    DE    POGI8 

Everything  is  possible,  when  you  go  to  law !  And 
if  you  will  not  listen  to  reason — well,  we  shall  pro- 
ceed at  once.  For  a  short  time  you  will  be  in  the 
turmoil  of  the  courts,  in  the  papers,  while  the 
lawyers  will  be  brutally  rending  the  tender  flesh 
of  the  child  of  your  former  love ! 

MARIANNE 

You,  Madame,  have  been  witness  to  all  the  evil 
that  came  from  my  love  for  your  son.  Are  you 
not  ashamed  to  help  him  in  the  wrong  he  wants 
to  do  me  once  again? 

MME.    DE    POGIS 

Marianne,  I  am  now  speaking  for  Max's  wrongs. 
I  just  told  you  why  my  conscience  forced  me  to 
take  his  side. 

MARIANNE 

No,  Madame,  you  can  find  no  justification  for 
that!  Can  you  forget  that  he  left  his  child  with 
me,  as  a  sort  of  indemnity  for  the  loneliness  in 
which  he  left  me !  You  speak  of  your  conscience ! 
Well,  your  conscience  ought  to  rebel  against  the 
idea  of  the  return  of  that  same  man  to  his  victim, 
of  his  attempt  to  steal  it  back  again! 


ACT  II]  THE   LABYRINTH  81 

MME.    DE    POGIS 

He  is  my  son,  and  he  demands  his  son ! 

MARIANNE 

And  I  am  the  woman  you  used  to  call  daughter, 
and  whom  you  never  had  cause  to  blame !  And  for 
the  grandson  I  gave  you,  I  nearly  died  in  your 
arms  when  I  brought  him  into  the  world!  That 
child  forever  forms  a  link  between  you  and  me,  a 
link  of  help ! — Stop  this  terrible  thing !  Help  me ! 
Stand  between  me  [Pointing  to  the  window  below 
which  is  MAX]  and  him! 

MME.    DE    POGIS 

[Struck  with  an  idea.]  Between  you  two?  Per- 
haps—  ?  Yes,  if  there  is  one  voice  that  can  influence 
the  father  in  his  demands,  it  is  yours! 

MARIANNE 

How? — What  is  your  idea?  Do  you  want  to 
have  us  meet? 

MME.    DE    POGIS 

You  will  not  meet  without  causing  my  son  a  feel- 
ing of  remorse,  and  yourself  of  compassion.  That 
can  have  no  other  than  a  good  effect  on  the  future 
of  your  child. 

MARIANNE 

Oh,  Madame,  what  are  you  trying  to  do  ? 

MME.    DE    POGIS 

I  have  seen  a  final  means  of  preserving  peace. — 
Are  you  ready  to  speak  with  him? 


89  THE  LABYRINTH  [Acr  II 

MARIANNE 

Do  you  really  wish  it?     Is  it  you  who  wish  it? 

MME.    DE    POGIS 

[Near  the  window.]     Give  me  a  word,  a  sign, 
and  I'll  call  him. 

MARIANNE 

Call  him! 

MME.    DE    POOIS 

[Waving  her  handkerchief  out  of  the  window.] 
Max! 

MARIANNE 

No ! — It's  too  ridiculous ! 

MME.    DE    POGIS 

[Still  catting  out  of  the  window.]     Yes!     Come! 

MARIANNE 

No,  no! 

MME.    DE    POGIS 

[Returning  from  the  window.]     He  is  coming. 

MARIANNE 

[Deeply  moved.]     Oh! 

MME.    DE    POGIS 

He  hesitated  at  first.     He  knew  you  were  here, 
that  he  was  going  to  meet  you. 

MARIANNE 

I  shall  never  have  the  strength — ! 


ACT  II]  THE   LABYRINTH  83 

MME.    DE    POGIS 

For  some  days  he  has  been  very  excited;  he  will 
probably  try  to  play  a  part.  If  he  seems  bitter, 
it  means  that  he  is  ill  at  ease.  Don't  get  angry; 
be  generous. 

SERVANT 
[Announcing.]     M.  de  Pogis. 

MME.    DE    POGIS 

Come  here,  my  dear.  I  have  assumed  the  re- 
sponsibility for  this  interview,  as  I  have  not  suc- 
ceeded in  presenting  your  case  myself. 

MAX   DE   POGIS 

[Stopping.]     Oh! 

MME.    DE   POGIS 

Talk  in  a  way  that  may  possibly  soften  her. 

MARIANNE 

Oh,  no,  Madame,  do  not  flatter  yourself  by  think- 
ing that  I  can  be  so  easily  influenced! 

MAX  DE  POGIS 

[To  MARIANNE.]  I  thought  it  my  duty  to  come 
when  I  was  called.  But  if  you  are  determined  to 
see  in  me  nothing  but  a  guilty  husband,  I  have 
no  more  to  say.  It  would  not  become  me  to  blame 
you  for  what  you  have  made  me  suffer.  I  should 
be  exceeding  my  rights  if  I  tried  to  explain  my  mis- 
deeds. I  don't  ask  you  to  forget  them;  and  as  for 
me,  I  should  never  think  of  excusing  myself. 


84  THE   LABYRINTH  [Acr  II 


MARIANNE 


I  consented  to  receive  you,  as  the  father  of  our 
child;  you  have  nothing  to  say  to  me  except  as 
such.  If  you  try  to  speak  as  anyone  else,  I  shall 
not  recognize  you. 


MAX   DE    POGIS 


Very  well.  You  will,  I  trust,  allow  me  to  speak 
to  you  as  an  equal.  As  to  our  son,  I  am  ready  to 
sacrifice  anything  for  him — as  you  are,  and  as  much 
as  you. 


MARIANNE 

Since  when?  If  you  had  always  had  a  father's 
heart,  you  would  never  have  left  him,  even  if  you 
had  had  to  bear  my  presence. 

MAX  DE  POOIS 

It  is  true  you  were  the  best  of  mothers  then, 
when  I  was  hardly  beginning  to  be  a  father.  Do 
you  blame  me,  or  Nature?  Mothers  begin  to  love 
their  children  at  the  first  indication  that  they  are 
mothers,  and  their  care  is  for  a  long  time  sufficient 
to  guard  the  tiny  being  as  it  sleeps  in  the  cradle. 
I  never  felt  that  I  was  a  father,  I  never  realized 
a  father's  duties,  until  I  saw  my  son  approaching 
adolescence.  Now  that  he  is  no  longer  a  child,  I 
feel  impelled  to  assure  him,  by  my  embrace,  that 
I  am  with  him,  too,  to  guide  him,  to  defend  him 
against  the  surprises  and  dangers  of  life. 

MARIANNE 

I  can  complete  his  education  without  your  assist- 
ance. You  left  me  to  do  everything  for  him — even 


ACT  II]  THE    LABYRINTH  85 

what  a  father  should  do — from  the  day  you  decided 
that  I  should  consider  you  as  no  longer  existing. 

MAX  DE  POOIS 

The  dead  who  never  return  are  the  only  ones 
who  leave  their  widows  wholly  alone.  They  should 
have,  like  me,  something  to  say  to  those  who  are 
bringing  up  their  child  to  love  and  reverence  an- 
other father. 

MME.    DE    POGIS 

Oh,  Max,  be  a  little  considerate! 

MARIANNE 

Yes,  that  reproach  sounds  strange  coming  from 
you! 

MME.    DE    POOIS 
[To  MARIANNE.]        Please ! 

MARIANNE 

What  have  I  done,  in  marrying  again,  that  you 
have  not  let  me  do,  given  me  the  right,  the  example, 
the  very  proof  that  it  was  nothing  to  you?  It  would 
be  wiser,  I  think,  not  to  drag  in  a  third  person  in 
connection  with  me  or  you — ! 

MAX  DE  POGIS 

Yet  I  cannot  avoid  the  important  point  in  ques- 
tion. You  will  understand,  no  matter  what  misery 
I  have  endured  by  being  almost  deprived  of  a  son 
whom  I  now  love  passionately,  there  was  the  possi- 
bility of  my  expiating  my  fault  forever  in  silence. 
But  you  would  have  to  have  a  very  strong  character 
to  domineer  over  me  to  that  extent,  and  I  should 


86  THE    LABYRINTH  [Acr  H 

have  had  to  feel  the  deepest  remorse  because  of 
you,  you  who  would  be  always  unforgiving,  unre- 
lenting. You  should  not  have  let  me  see  you  as 
you  are  now,  with  another  man! 

MME.    DE    POGIS 

Oh,  there  dear,  don't  go  on! 

MARIANNE 

In  what  capacity  are  you  now  speaking? 

MME.    DE    POGIS 

[Begging.]     Marianne! 

MARIANNE 

By  what  right  do  you  exercise  this  tyranny? 
Have  I  wounded  your  pride?  Is  that  how  your 
hatred  comes  out? 

MAX    DE    POGIS 

I  don't  hate  you! 

MARIANNE 

What  have  you  just  proved  to  me,  then?  Is  it 
out  of  revenge  that  you  are  questioning  my  right 
to  the  child? 

MAX    DE    POGIS 

I  am  not  questioning  your  right,  but  the  right  of 
your  second  husband!  He  is  the  one  I  hate! 

MARIANNE 

[Her  eyes  flashing  at  this  proof  of  jealousy.} 
Oh! 


ACT  II]  THE    LABYRINTH  87 

MAX    DE    POGI8 

I  can't  bear  hearing  of  him  every 'moment,  in  the 
conversation,  the  plans,  the  little  talks  I  have  with 
my  son.  I  don't  want  his  tender  mind  to  be 
molded  by  a  stranger,  an  amateur,  who  arrogates  to 
himself  the  father's  rights,  and  makes  a  pleasant 
pastime  of  it  all! 

MME.    DE    FOGIS 

Oh,  Max! 

MAX   DE    POGIS 

I  never  tried  to  find  out  about  anything  that 
happened  here.  Every  time  the  child  began  to 
prattle  about  your  private  conversations  (in  which 
he  childishly,  gaily  and  legitimately  joins)  I  pre- 
vented him.  In  spite  of  my  precautions,  the  other 
day,  in  a  second,  he  thrust  a  dagger  in  my  heart. 
He  led  me  to  ask  questions.  At  that  moment,  I 
decided  to  interfere. 

MME.    DE    POGIS 

[To  MARIANNE.]  I  told  you  there  was  some- 
thing in  this  I  didn't  know  about. 

MARIANNE 

Things  here  are  just  the  same  as  they  were  yes- 
terday. You  have  misinterpreted  something,  doubt- 
less? What  did  you  think,  tell  me? 

MAX    DE    POGIS 

Our  son  is  In  his  thirteenth  year.  Someone  has 
suggested  that  fifteen  is  the  age  of  entrance  in  the 
School  of  Marines,  and  that  he  should  prepare  him- 
self. 


88  THE    LABYRINTH  [ACT  II 

MARIANNE 

He  a  sailor!1 — With  his  weak  chest! 

MMK.    DE    POOIS 

Poor  little  fellow! 

MAX    DE    POGIS 

Please  understand  that  I  was  not  foolishly 
alarmed  about  that.  I  know  very  well  that  it  is 
easy  enough  to  rid  a  child  of  Louis'  age  of  that 
idea.  But,  you  see,  if  I  left  such  an  impression- 
able little  being  open  to  these  influences,  how  will 
such  partly  destroyed  ideas  turn  out?  Since  I  had 
begun  to  ask  him  questions,  I  made  him  tell  me 
about  the  talks  and  the  stories  that  excite  him  so: 
voyages  of  adventure,  the  freedom  of  a  far-off  coun- 
try, the  soldier's  life,  and  that  brutal  custom  of 
lynching! — I  even  wondered  whether  the  step- 
father wasn't  actually  trying  to  send  to  the  devil 
a  child  who  is  not  his! 

MARIANNE 

Oh,  you  mistake  perfectly  good  intentions  even 
if  they  have  a  bad  effect.  I  tell  you,  no  one 
comes  near  the  child  who  hasn't  his  welfare  at 
heart.  It  so  happens  that  not  long  ago  your  state- 
ment was  confirmed.  Right  here,  I  saw  how  dif- 
ferent Louis  was,"  body  and  soul,  from  my  husband ! 
I  think  I  ought  to  acknowledge  that  in  one  regard 
you  are  more  watchful  than  I.  You  have  in  that 
way  regained  your  rights  to  our  son.  Let  us  de- 
cide on  the  conditions  you  have  come  to  make. 
[She  motions  him  to  a  chair.] 


ACT  II]  THE   LABYRINTH  89 

MAX   DE    POGIS 

[Taken  aback.]  My  wishes  are  not  so  definite, 
now  that  you  are  more  generous  in  your  answers. 
But  since  you  don't  deny  I  have  some  reason  for 
establishing  my  rights  as  a  father,  here  is  my  offer. 
Your  parents  used  to  have  you  with  them  only  to- 
ward the  middle  of  August  at  their  estate,  Dau- 
phine.  In  three  weeks  you  leave;  those  three 
weeks  the  boy  will  have  to  spend  in  the  unhealthy 
hot  weather  of  Paris.  What  if  I  should  take  him 
to  Nerange,  in  the  meantime?  Wouldn't  it  be 
soothing  to  his  overwrought  little  mind  to  have 
him  in  a  quiet  country,  where  he  really  ought  to 
be? 

MARIANNE 

Of  course!  He'd  be  delighted  to  be  near  La 
Charmeraye,  where  his  little  cousin  must  be  by 
this  time.  But  I  should  have  known  about  this 
separation !  I  ought  to  have  accustomed  myself 
a  long  time  ahead,  to  a  period  of  such  sadness  for 
me,  and  endless  anxiety — 

MME.    DE    POGIS 

With  his  father  and  me,  what  could  possibly 
happen  to  him? 

MARIANNE 

Oh,  I  don't  know !  Only  I've  never  left  the  little 
fellow,  and  I  can't  bear  to  see  him  go,  without  exag- 
gerating everything,  without  thinking  that  I  have 
lost  him — 


90  THE   LABYRINTH  [Act  II 

MAX    DE    POGIS 

He'll  come  back  loving  you  all  the  more.  I 
don't  intend  to  influence  him  against  you.  When 
I  take  his  face  between  my  hands,  I  try  to  see  the 
small  resemblance  he  bears  to  me,  the  chin,  the 
cheek-bones,  the  slight  angularity  of  feature.  And 
then,  I  trace  out  all  that  he  inherits  from  you,  that 
will  later  develop  into  elegance;  the  varying  re- 
flections in  the  pupils  of  the  eyes,  the  delicate  tex- 
ture of  his  hair,  the  arched  nostrils,  your  very 
mouth — 

MARIANNE 

Oh,  please! 

MAX    DE    POGIS 

I  only  wanted  to  tell  you  that  I  wish  to  bring 
him  up  to  resemble  us,  you  and  me,  and  to  develop 
the  traits  he  inherits  from  each  of  us. 

MARIANNE 

I  hope  we  have  not  transmitted  any  indication 
of  a  happiness  which  cannot  be  attained. 

MAX  DE  POGIS 

[Greatly  moved.]  Listen:  during  the  brief 
hours  that  till  this  moment  he  was  with  me,  I  called 
to  mind  each  time  a  wish  that  you  had  expressed 
at  a  period  when  he  still  expressed  himself  in 
baby  talk.  It  was  the  notion  of  following  up  that 
early  idea  of  yours  that  I  took  him,  first  to  galler- 
ies, then  concerts  and  pretty  poetic  plays.  You  do 
not  perhaps  remember  what  I  am  going  to  remind 
you  of,  our  playing  together;  when  you  sang,  and 


ACT  II]  THE   LABYRINTH  91 

the  boy  sat  up  on  the  cushions.  The  sound  of  the 
music  made  him  prattle,  and  his  face  brightened, 
his  little  face  that  was  so  colorless  before,  and  just 
like  a  fairy  wish,  you  decided  that  we  should  make 
him  an  artist,  we  two — 

MARIANNE 

[Feelingly.]     Yes,  I  can  see  again — 

MAX    DE    POOI8 

[In  a  choked  voice.]  It  was  a  long  time  ago, 
in  this  very  chateau  of  Nerange,  where  I  now  im- 
plore you  to  let  me  take  him  for  a  little  while — 

MARIANNE 

Just  as  you  like.  The  child  is  here,  and  I'll 
send  him  to  you.  You  can  tell  him  about  his  trip 
yourself. 

MME.    DE    POGIS 

Thank  you,  Marianne.  [MARIANNE  is  about  to 
leave.] 

MAX  DE  POGIS 

[Stopping  her.]  One  minute  more:  tell  me  that 
in  acceding  to  my  wishes  you  no  longer  feel  you 
were  the  victim  of  violence? 

MARIANNE 

I  feel  happy  in  giving  in  to  your  wishes.  I 
leave  you  with  a  better  opinion  of  you  than  1  had. 
You  have  again  become  in  my  eyes  the  father  of 
our  son. 


93  THE    LABYRINTH  [Acr  II 

MAX    DE    POGIS 

For    many   years,    no   words   have    sounded    so 
sweet ! 

MMK.    DE    POOIS 

Oh,  my  children !      [She  breaks  out  in  sobs.] 

MARIANNE 

[Stilling  her  emotion.]      Good-bye! 


ACT    III 

A  room  in  the  chateau.  Up-stage  at  the  left,  a 
high  alcove  where  the  bed  is  placed,  the  lower 
end  down-stage.  Up-stage  to  the  right,  a 
swinging  door  opens  upon  the  ante-chamber; 
down-stage,  a  low  door  opening  upon  a  hall- 
way. .  .  The  lamps  are  lighted. 

MMK.    DE    POGIS 

[Before  a  desk.]  You  will  find  writing  mate- 
rials here,  Doctor. 

THE    DOCTOR 

[Entering  through  the  lower  door.]  For  the 
sake  of  form,  I  shall  take  a  few  simple  hygienic 
precautions,  but  your  grandson  is  quite  convales- 
cent. 

MME.    DE    POGIS 

You  don't  think  there'll  be  a  relapse? 

THE    DOCTOR 

What  proves  my  confidence  is  that  I  have  been 
all  day  long  on  a  distant  call;  and  here  I  am  at 
Nerange  this  evening,  not  until  after  the  lamps  are 
lighted  and  your  dinner  over. 

MME.    DE    POGIS 

Oh,  what  a  nightmare  we  have  been  through ! 
Just  think!     The  first  time  the  child  was  left  in 
93 


94  THE    LABYRINTH  [Acr  III 

the  care  of  my  son  and  me,  we  took  him  right  into 
that  epidemic  of  diphtheria!  How  should  we  ever 
have  been  able  to  survive  if  anything  had  hap- 
pened to  him! 

THE    DOCTOR 

The  same  as  next  door! 

MME.    DE    POGIS 

[Sadly.]     Oh! 

THE    DOCTOR 

I  tell  you,  there  is  one  person  here  who  is  nearly 
worn  out. 

MME.    DE    POGIS 

Marianne?  God  knows  she  looked  bad  enough 
when  she  hurried  here  from  Paris  two  weeks  ago, 
after  the  shock  of  my  telegram!  She  didn't  have 
time  to  look  up  her  father  or  mother  for  fear  of 
missing  a  train;  she  came  alone,  wild  with  fear. 
And  for  her  reception,  we  confronted  her  with 
this  terrible  spectacle:  little  Louis  haggard  and 
purple  in  the  face — unrecognizable,  and  not  know- 
ing his  own  mother! 

THE    DOCTOR 

[Shaking  his  head.]     It  was  a  serious  case! 

MME.    DE    POGIS 

From  that  moment  on,  Marianne  took  hardly 
any  food.  Only  once  in  a  while  she  snatched  a 
minute  of  sleep,  in  a  chair.  She  is  living  only  on 
her  nerves ;  and  by  taking  cold  baths  !  [  To  MARI- 
ANNE, who  enters  through  the  little  door  at  the 
right.]  Is  he  asleep? 


ACT  III]  THE   LABYRINTH  95 

MARIANNE 

He  is  going  to  sleep.  [Approaching  the  DOC- 
TOR.] Doctor,  you  told  me  positively  yesterday 
morning  that  although  my  boy  was  not  well  enough 
to  be  moved,  he  was  out  of  danger? 

THE    DOCTOR 

And  I  say  it  again. 

MARIANNE 

I  have  waited  a  day  and  a  half  in  order  to  let 
you  have  time  to  be  absolutely  sure.  And  now 
for  the  last  time  I  ask  you  to  give  me  your  word 
that  he  doesn't  need  my  help  any  longer.  May  I 
leave  him  without  the  slightest  fear? 

THE    DOCTOR 

I  will  answer  for  him. 

MARIANNE 

The  moment  I  am  assured  that  I  am  no  longer 
of  use  under  this  roof,  it  is  my  duty  to  leave. 
[THE  DOCTOR  is  writing.] 

MME.    DE    P06IS 

Have  you  any  special  reason  that  you  are  hiding 
from  me,  for  hurrying  away  so? 

MARIANNE 

No.     I  am  hiding  nothing.     Why  should  I  ? — 

MME.    DE    POGIS 

Perhaps  you  object  to  occupying  the  room  we 
are  now  using,  because  it  was  once  your  own? 


96  THE   LABYRINTH  [Acr  III 

MARIANNE 

Why  do  you  bring  that  up? 

MMK.    DE    POOIS 

To  let  you  know  that  in  fitting  it  up  as  the  near- 
est room  to  our  little  sick  boy,  I  could  do  so  with- 
out hurting  your  feelings.  No  one,  you  under- 
stand, no  one  has  lived  in  this  room  since  the  day 
you  left  it.  It  has  been  closed  to  everyone.  It 
belonged  only  to  silence,  to  solitude,  to  things  left 
behind ! 

MARIANNE 

That  is  enough,  Madame! — Believe  me,  I  could 
accommodate  myself  just  as  easily  here  as  else- 
where, if  I  stayed  at  all.  But  I  have  no  reason 
to  "remain  longer  away  from  where  I  belong:  with 
my  husband. 

[She  faints.] 

MME.    DE    POGIS 

[Helping  her.]     Oh,  she's  fainted! 

THE    DOCTOR 

[Coming  to  her  aid.]  She's  coming  to!  Let 
her  smell  that  bottle  of  salts.  [MME.  DE  POGIS  goes 
to  get  the  bottle,  which  is  on  a  table.]  It's  noth- 
ing, this  time. 

MME.    DE    POGIS 

[To  the  DOCTOR.]  And  to  think  that  she  wanted 
to  leave  this  very  evening! 


ACT  III]  THE   LABYRINTH  97 


THE    DOCTOR 


[To  MARIANNE,  who  has  regained  consciousness.} 
Madame,  you  see  for  yourself  how  dangerous  it  is 
to  excite  yourself.  You  are  nearly  exhausted.  At 
the  first  breakdown  of  your  nerves,  you  are  running 
the  risk  of  a  complete  bodily  and  mental  collapse. 
It  is  my  duty  to  order  you  to  rest. 

MARIANNE 

I  feel  that,  in  spite  of  myself,  I  must  obey  you. 
I  shall  not  leave  until  to-morrow  morning.  But  I 
haven't  sent  off  any  news  to-day;  I  put  it  off  till 
you  came.  I  must  at  least  tell  my  parents  when 
I  expect  to  arrive. 

MME.    DE    POGIS 

It's  too  late  to  telegraph,  the  office  is  closed. 

THE    DOCTOR 

When  I  return  home,  I  can  drop  your  note  in 
the  box  at  the  station.  [To  MARIANNE.]  It  will 
go  off  on  the  train  you  intended  to  take. 

MARIANNE 

I'll  have  it  written  in  a  minute. 
[She  sits  at  the  desk,  looks  at  the  railway  guide, 
and  writes  her  letter.] 

THE    DOCTOR 

[To  MME.  DE  POGIS.]  There's  no  use  sitting  up 
any  longer;  you  can  tell  by  the  way  the  child 
sleeps.  Nevertheless,  if  he  should  wake,  and  some- 
one was  there,  he  might  give  him  a  spoonful  of 
medicine. 


98  THE    LABYRINTH  [Acr  III 


MME.    DE    POGIS 


We  have  taken  no  end  of  precautions.  Max  and 
I  arranged  to  take  turns.  I'm  going  to  have  a 
little  sleep  while  Max  watches  the  first  part  of 
the  night. 

THE    DOCTOR 

Good! 

MME.    DE    POGIS 

You  have  no  further  directions? 

THE    DOCTOR 

No,  this  is  all. 

[MME.   DE   POGIS  takes  the  prescription  that  THE 
DOCTOR  has  written.] 

MARIANNE 

[Leaving  the  desk.]      Here  is  my  letter. 

THE    DOCTOR 

[To  MARIANNE.]  I'll  take  care  of  it.  And  now 
that  your  boy  is  resting  quietly,  you  are  forbidden, 
you  know,  to  go  near  him.  We  know  you;  you'd 
commence  your  watching  all  over  again.  Go  to 
sleep,  I  beg,  I  command ! 

MARIANNE 

Very  well,  Doctor.  I  owe  you  too  much  to  dis- 
obey you,  just  as  I  am  about  to  say  good-bye  and 
many,  many  thanks !  It  is  you  who  have  saved  my 
boy ! 


ACT  III]  THE   LABYRINTH  99 

THE    DOCTOR 

Oh,  I ! — It  is  such  devoted  parents  as  you,  who 
help  me  with  their  watchfulness!  It  is  rather  a 
mysterious  Something  which  decides  these  things  in 
spite  of  us.  For,  two  weeks  ago,  the  night  be- 
fore you  came,  I  was  doctor  in  that  other  chateau, 
by  the  side  of  parents  just  as  devoted  as  you,  and 
the  same  disease  carried  off  the  little  Saint-firic 
child— 

MARIANNE 

[Shocked.]     Is  he  dead? 

THE    DOCTOR 

[Fexed  at  himself.]     Didn't  you  know? 

MME.    DE    POGIS 

[Looking  up  from  her  reading.]  We  kept  it  from 
you,  because  the  same  danger  threatened  us.  You 
needed  all  your  courage  here. 

MARIANNE 

Oh,  God,  so  that  was  it!  That's  why  I  haven't 
seen  Paulette !  You  let  me  believe  she  stayed  away 
for  fear  of  carrying  the  contagion  to  her  own 
home ! — What  must  she  have  thought  of  my  not  say- 
ing a  word  to  her  in  all  her  trouble? 

MME.  DE  POOIS 

She  knew  that  you  did  not  know.  She  comes 
every  day  to  inquire  about  you,  but  does  not  come 
up-stairs,  for  fear  of  letting  you  see  she  is  in 
mourning. 


100  THE    LABYRINTH  [Acr  III 


MARIANNE 


I  must  see  her,  I  must  let  her  know  how  much 
I  sympathize  with  her ! 

MME.    DE    POGIS 

Wait  for  her  here,  then.  She  has  not  come  yet 
to-day;  but  she  can't  be  long  now.  I  shall  prob- 
ably meet  her  when  I  show  the  Doctor  out. 

MARIANNE 

Send  her  to  me. 

[MME.  DE  POGIS  and  THE  DOCTOR  go  out  through 
the  upper  door.] 

Oh,  poor  Paulette — and  Hubert! 
[She  sobs,  her  head  buried  in  her  arm*.] 

MAX    DE    POGIS 

[Entering  through  the  small  door.]  Why  are 
you  crying? 

MARIANNE 

[Raising  her  head.]     Our  poor  cousins! 

MAX    DE    POGIS 

Yes,  yes — poor  people !  It's  terrible !  Did  you 
just  hear  of  it?  I  knew  the  moment  it  happened; 
the  awful  vision  haunted  me  at  the  bedside  where 
we  kept  watch ! 

MARIANNE 

You  went  through  an  ordeal  that  I  know  would 
have  killed  me. 


ACT  III]  THE   LABYRINTH  101 

MAX    I)K    POGIS 

And  my  burden  continues  to  be  the  heavier  of 
the  two.  Now  you  can  draw  a  free  breath,  since 
the  boy  is  out  of  danger,  but  I  come  out  of  a  vision 
in  which  we  were  as  we  used  to  be  to  each  other. 
And  I  am  tormented  by  the  thought  that  it  will  all 
fall  to  pieces  again,  through  my  own  doing,  my  ab- 
solute madness  that  drove  me  once  to  shatter  it! 

MARIANNE 

You  must  not  speak  of  our  personal  relations. 
The  moment  I  accepted  your  hospitality,  it  was 
tacitly  agreed  that  that  subject  was  forbidden. 

MAX  DE  POGIS 

You  will  not  deny  that  since  you  have  come  back 
here  there  has  been  some  change  of  feeling  be- 
tween you  and  me. 

MARIANNE 

No,  no,  there  shouldn't  be!     That's  impossible! 

MAX    DE    POGIS 

Come,  come !  During  those  two  weeks  that  dan- 
ger threatened  us,  we  lived  side  by  side,  we  had  the 
same  soul.  From  hour  to  hour  we  whispered  words 
of  encouragement  and  distress  to  each  other.  And 
sometimes,  in  order  that  one  might  give  a  ray  of 
hope  to  the  other,  we  asked  questions,  unreservedly, 
looking  deep  into  each  other's  souls,  through  our 
eyes. 

MARIANNE 

Yes,  there  were  glances  that  penetrated  deep — 
but  thank  God  that  time  is  past ! 


103  THE   LABYRINTH  [Acx  III 

MAX    DE    POOIS 

After  what  has  been,  we  can  never  feel  so  de- 
fiant toward  one  another  as  we  were  recently.  How 
absurd  we  should  be,  what  parts  we  should  be  act- 
ing, if  we  did  not  recognize  each  other  when  we 
met! 

MARIANNE 

Your  life  and  mine  will  merely  continue  along 
each  side  of  this  abyss  we  have  just  escaped.  For 
a  long  time  we  lived  without  meeting;  it  is  best 
never  to  meet  again ! 

MAX  DE  POOIS 
Why  do  you  say  that? 

MARIANNE 

Because  the  only  imaginable  reason  for  bringing 
us  together  again  would  be  our  son  once  more  in 
danger  of  death. 

MAX  DE  POOIS 

Ah,  yes,  that's  right! — He  must  never  bring  us 
together  from  now  on!  Dear  child!  He  did  his 
very  best  the  other  night,  when  he  tried  to  make 
us  join  hands,  with  his  own  shrunk  little  hands. 

MARIANNE 

During  those  moments,  when  I  saw  the  child 
coming  back  to  life,  I  almost  went  out  of  my 
mind. 

MAX    DE    POOIS 

And  yet  you  bore  up  bravely;  your  nerves  for- 
bade your  touching  me;  you  drew  back  so  violently 


ACT  III]  THE    LABYRINTH  103 

that  you  cut  short  the  first  smile  on  the  lips  of  the 
little  fellow. 

MARIANNE 

I  did  what  I  ought  to  have  done.  I  preserved 
our  dignity;  I  kept  my  distance. 

MAX    DE    POGIS 

Yes,  but  in  following  the  pathway  of  the  hand 
that  you  snatched  away  I  saw  again  the  vision  of 
the  day  it  grasped  mine,  when  we  were  engaged — 

MARIANNE 

Stop,  for  the  love  of  Heaven !  Let  what  is  dead 
lie  in  peace! 

MAX  DE  POGIS 

Don't  be  angry;  and  listen  to  what  I  am  going 
to  tell  you.  Ever  since  you  refused  to  let  me  take 
your  hand,  I  noticed  how  freely  you  gave  it,  then, 
in  my  presence,  to  my  mother,  to  the  doctor,  but 
not  to  me!  Never  to  me!  Well,  I  want  to  feel 
that  hand,  to-day,  now !  I  shall  never  rest  content 
until  I  know  in  some  way  that  I  have  been  for- 
given ! 

MARIANNE 

You  have  evidently  forgotten  the  kind  of  woman 
I  am,  when  you  ask  me  to  be  party  to  a  deceit — 

MAX    DE    POGIS 

Then  you  don't  forgive  me  ?  Will  you  never  for- 
give me? 


104  THE   LABYRINTH  [Acx  HI 


MARIANNE 


[Desperately;  tired.]  Oh,  it's  barbarous  of  you 
to  persecute  me  like  this,  when  I'm  nearly  worn 
out !  Paulette  will  be  here  any  minute ;  let  me  have 
time  to  compose  myself.  Leave  me ! 

MAX  DE  POGIS 

Of  course  you  must  see  our  cousin.  I  should 
not  have  been  in  so  great  a  hurry  this  evening. 
We'll  find  a  moment  before  you  leave — 

MARIANNE 

[Paying  close  attention.]      Before  I  leave? 

MAX   DE    POGIS 

[With  assurance.]  Yes.  When  you  decide  to 
leave,  I  shall  ask  for  an  interview. 

MARIANNE 

Why? 

MAX    DE    POGIS 

Don't  you  see,  I  want  to  tell  you  how  sorry  I 
am? 

MARIANNE 

I  accept  your  word  for  it. 

MAX    DE    POGIS 

Oh,  no.  Some  day  soon  you  will  let  me  tell  you 
everything:  my  wretched  excuses,  what  a  botch  I 
made  of  my  life  ever  since  we  have  been  sep- 
arated— 


ACT  III]  THE   LABYRINTH  105 

MARIANNE 

I  shall  not  listen  to  you. 

MAX    DE    POGIS 

Yes,  you  will;  you  will  before  you  leave!  I 
shall  always  be  near  you!  I'll  make  you  listen, 
in  spite  of  yourself ! 

MARIANNE 

Well,  you  have  warned  me !     Very  well ! 

MAX  DE  POGIS 
Till  to-morrow? 

MARIANNE 

Good  night ! 
[MAX   leaves   through    the   upper  door;   PAULETTE 

enters  through  the  lower.] 
Oh,  my  dear!     My  poor  dear! 

PAULETTE 

I  just  passed  through  your  boy's  room.  For  a 
second,  I  imagined  myself  two  weeks  younger,  as  I 
felt  the  warmth  of  his  little  forehead  on  my  lips. 

MARIANNE 

Paulette ! 

PAULETTE 

Do  you  remember  the  questions  and  answers  little 
Toto  loved  to  make  when  he  was  so  young?  "What 
is  it  that  is  always  falling  and  never  breaks? — 
The  rain!  What  is  it  that's  always  cold? — The 
earth !"  Dear  little  one !  How  cold  he  must  be ! 


106  THE   LABYRINTH  [Acx  III 

MARIANNE 

I  want  so  to  tell  you — 

PAULETTE 

[Peremptorily.]  Don't  try!  I  don't  want  to 
spoil  the  happiness  of  your  first  hours  of  deliver- 
ance !  I  don't  want  to  make  you  cry ;  so  please  say 
nothing  that  will  make  me.  Help  me  to  keep  from 
looking  into  the  past. 

MARIANNE 

What  can  be  done  for  you?  What  are  you  go- 
ing to  do? 

PAULETTE 

We  are  both  utterly  helpless  under  this  terrible 
blow,  and  we  are  the  only  ones  who  can  under- 
stand, can  help  each  other. — Marianne,  tell  me 
if  I'm  mad  in  keeping  this  one  thought  that  bears 
me  up;  I  feel  that  I  have  been  purified  enough  by 
grief,  so  that  I  dare  to  want  my  husband  to  give 
me  a  child  again,  in  place  of  the  one  who  is  gone. 
Wouldn't  it  be  another  Toto  coming  into  being,  if 
he  had  the  same  father? 

MARIANNE 

Yes,  Paulette,  yes!  That  will  be  the  true  con- 
solation of  your  life.  You  see  very  well  what  joy 
the  future  holds  for  you. 

PAULETTE 

While  Hubert  and  I  fought  with  death  for  our 
child,  I  saw  how  man  and  wife  could  be  but  one 
flesh,  as  the  child  was  part  of  each.  Merely  to  be 


ACT  III]  THE   LABYRINTH  107 

husband  and  wife  does  not  prevent  there  being 
differences,  antipathy,  open  rebellion  or,  unfor- 
tunately, infidelity !  But  to  be  father  and  mother 
is  to  be  united,  bound  together,  with  scarcely  any 
connection  with  the  outer  world.  Those  two  are 
alone,  and  they  are  one  flesh. 

MARIANNE 

[From  the  bottom  of  her  heart.]  Have  you 
felt  that? 

PAULETTE 

[Raising  her  head.]  From  the  way  you  say  that, 
I  imagine  you  too  have  felt  it. 

MARIANNE 

I  have  to  struggle  continually  to  keep  from  think- 
ing of  something  that  I  must  put  farthest  from  my 
mind.  Should  I  take  you  into  my  confidence?  I 
have  here  twenty  letters  from  Guillaume,  all  full 
of  his  love  for  my  boy.  But  in  this  time  of  agony, 
that  note  in  his  letters  struck  false.  In  his  words 
of  courage,  of  faith,  of  hope,  he  seemed  to  care 
about  the  child  only  because  it  was  mine.  But 
Max  here  gave  proof  of  his  own  affection,  and 
did  not  merely  reflect  my  feelings.  He  was  my 
partner,  my  better  half !  We  were  truly  two 
parents  of  the  same  being.  Yes,  I  have  felt,  I 
have  had  to  confess,  that  I  have  not  entirely  for- 
gotten the  man  who  made  me  a  mother. 

PAULETTE 

There  seems  to  be  only  sadness  everywhere  now ! 
You  have  kept  your  child,  but  lost  its  father. 


108  THE    LABYRINTH  [Acr  III 

MARIANNE 

What  is  my  grief  compared  with  yours?  You 
have  told  me  not  to  pity  you;  don't  pity  me. 

PAULETTE 

Well,  I  know  that  in  your  present  state  I  ought 
not  to  prolong  this  visit.  I  hear  that  you  almost 
had  a  fainting  fit. 

MARIANNE 

Yes,  at  times  it  seems  as  though  I  can't  struggle 
against  my  weakness  !  But  don't  worry  about  that; 
stay  a  minute  more. 

PAULETTE 

I  shall  if  you  lie  down. 

MARIANNE 

No,  never  mind !  Just  think,  we're  not  going  to 
see  each  other  again;  I  leave  to-morrow. 

PAULETTE 

So  soon? 

MARIANNE 

[Sadly.]      It's  high  time. 

PAULETTE 

Has  Max  tried  to  prevent  your  going? 

MARIANNE 

I  have  not  told  him  yet.  I'll  manage  not  to  see 
him. 


ACT  III]  THE    LABYRINTH  109 

PAULETTE 

How  can  you? 

MARIANNE 

He  is  taking  his  turn  at  watching  now.  When 
he  leaves  I  shall  meet  no  one  but  Grandmother 
when  I  go  to  kiss  my  boy  good-bye  for  a  few  days. 

PAULETTE 

But  where  are  you  going  to  wait  until  time  for 
the  express? 

MARIANNE 

The  talk  I  had  with  Max  a  little  while  ago  de- 
cided me  to  leave  before  I  had  intended.  I  shall 
take  the  earlier  train;  that  gets  to  Paris  about  the 
same  time  as  the  other;  I  shall  have  to  leave  the 
house  early  in  the  morning. 

PAULETTE 

Oh,  you  haven't  gone  to  bed  yet!     Come  now, 
hurry ! 
[She  tries  to  lead  her  cousin  toward  the  alcove.] 

MARIANNE 

[Alarmed.]  No,  no,  not  there!  A  moment  ago 
I  was  very  brave  before  Mme.  de  Pogis.  The  first 
time,  I  remember,  I  crossed  the  threshold  of  that 
room,  I  was  a  young  girl,  just  married — that  was 
our  room !  Through  long  years  of  unthinking  hap- 
piness, it  was  here  I  passed  my  nights.  Here  it 
was  that  I  lived  through  that  last  awful  night, 
alone — the  day  after  I  saw  Max  and  his  mis- 


110  THE    LABYRINTH  [Acr  III 

tress — he  was  kissing  her !  How  can  I  again  close 
my  eyes  and  keep  from  thinking  of  those  awful 
days! 

PAULETTE 

Come  now,  lie  down.  You'll  soon  fall  asleep, 
you're  so  exhausted.  There  always  comes  a  mo- 
ment when  the  brute  in  us  overpowers  us.  I  am 
just  learning  again  to  sleep. 

MARIANNE 

[Holding  her  back  a  last  time.]  Oh,  my  dear 
Paulette,  after  a  while,  whenever  you  wish  it, 
you'll  see  how  I  shall  call  up  the  remembrance  of 
things  past,  of  the  dear  little  fellow  who  was  taken 
from  you — 

PAULETTE 

[Releasing  herself.]     Sh — Never  mind  showing 
me  out.     Rest  yourself. 
[She  leaves  through  the  door  up-stage.] 

MARIANNE 

[Alone.]      I'll   rest,   then,   since   they   all   want 

me  to! 

[She  locks  the  door  through  which  PAULETTE  has 
just  passed.  She  then  goes  toward  the  little 
door  at  the  right,  to  lock  it.  While  in  front 
of  a  dresser,  she  slips  off  an  undergarment, 
baring  her  shoulders,  and  takes  out  a  hair  pin 
which  has  held  her  hair  in  place.  She  drags 
herself  toward  a  reclining  chair  at  the  left. 
The  moment  after  she  lies  down  she  gets  up, 
turns  down  the  lamp,  which  is  on  a  nearby 
table.  A  noise  outside  attracts  her  attention.] 


ACT  III]  THE   LABYRINTH  111 

Someone's  there ! 

[She   looks   toward   the   little   door   at    the   right. 

There  is  a  soft  knock.     She  goes  toward  the 

door,  and  speaks  through  it.] 

What  is  it? — You  again! — No,  I  can't  open  it! 

— Why  must   I? — What's  happening? — The  child 

hasn't  changed  for  the  worse,  has  he? — Has  he? — 

I    don't   hear,    speak    louder.     Your    voice   sounds 

choked. — Why? — I    asked   you  whether  the   child 

had  taken  a  turn  for  the  worse. — Why  don't  you 

answer? — Aren't    you    there    any    more? — Not    a 

sound! — Gone! — He's  made  me  nervous! 

[As  she  opens  the  door,  the  sight  of  MAX  causes 
her  to  draw  back  quickly.  He  comes  in;  she 
retreats  farther,  holding  a  light  garment  over 
her  bare  throat;  with  the  other  hand,  she  at- 
tempts to  hide  the  disorder  of  her  hair.] 
Don't  come  a  step  nearer,  or  I'll  call  for  help! 

MAX    DE    POGIS 

[Leaving  the  door  open.]  If  you  make  any  dis- 
turbance, you  will  wake  your  son. 

MARIANNE 

[In  a  half-whisper.]  You  have  taken  advantage 
of  me! 

MAX    DE    POGIS 

[Also  speaking  in  a  low  tone.]  You  yourself, 
a  little  while  ago,  took  advantage  of  me.  When 
my  mother  said  good-night  to  me,  she  said  you 
would  be  gone  to-morrow.  When  you  hid  that  from 
me,  you  deceived  me! 


113  THE   LABYRINTH  [Acr  III 

MARIANNE 

I  have  not  been  accountable  to  you  for  many 
years ! 

MAX    DE    POGIS 

I  admit  that  you  are  under  no  obligations  to 
me,  except  those  of  one  human  being  to  another. 
If  I  deserve  to  expiate  my  crime  as  long  as  I  live, 
I  demand  at  least  what  you  wouldn't  refuse  to  the 
lowest  of  convicts — the  right  to  have  my  confes- 
sion heard. 

MARIANNE 

Not  here!     Not  to-night!     Please,  go  away! 

MAX    DE    POGIS 

I  don't  want  to  be  fooled  again.  You  have  de- 
termined to  slip  away,  but  this  is  the  last  time  I 
shall  probably  see  you,  and  I'm  not  going  away, 
and  I  shall  not  let  you  go  either. 

MARIANNE 

We'll  see ! 

MAX    DE    POGIS 

You  have  only  to  make  a  fuss,  if  you'd  like. 

MARIANNE 

You  are  taking  advantage  of  my  fear  of  fright- 
ening the  child. 

MAX    DE    POGIS 

I  did  not  think  of  that;  you  left  me  no  other 
time  to  see  you. 


ACT  III]  THE   LABYRINTH  113 

MARIANNE 

Go  away,  I  tell  you — go  away! 

MAX    DE    POGI8 

I  shall  not  go  until  you  have  heard  me;  not  one 
second  before! 

'MARIANNE 

Why  do  you  want  to  stir  up  again  so  much 
trouble  ? 

MAX    DE    POGIS 

On  the  contrary,  we  shall  both  feel  much  better 
for  having  clearly  seen  just  what  has  happened 
to  us. 

MARIANNE 

You  think  so !  I  tell  you,  you  are  only  re-open- 
ing the  wound — are  you  determined? 

MAX  DE  POGIS 
Yes! 

MARIANNE 

Very  well !     The  wound  can  still  bleed. 
[She  closes  the  door.] 

MAX    DE    POGIS 

[Continuing  in  his  natural  voice.]  This  is  what 
I  want  to  tell  you.  I  was  once  unfaithful  to  you, 
before  we  were  separated;  it  hurt,  it  suffocated  me. 
I  should  not  have  had  the  courage  to  continue 
much  longer.  If  you  hadn't  found  out  my  mis- 
conduct almost  as  soon  as  it  began,  I  should  very 
soon  have  stopped.  But  I  lost  my  head  when  the 


114  THE    LABYRINTH  [Acr  III 

blow  came.  Instead  of  seeing  myself  as  the  only 
cause  of  trouble  between  us,  I  got  angry  with  you 
for  having  found  me  out.  I  hated  you  because  you 
forced  me  to  recognize  that  I  had  committed  a 
crime ! 

MARIANNE 

[Indignant.]  You  made  me  responsible!  Me! 
You  accused  me !  Me ! 

MAX  DE  POOIS 

I  am  merely  confessing;  I  am  showing  you  how 
wicked  and  foolish  my  false  pride,  my  remorse,  my 
suffering  made  me !  I  was  ready  to  plunge  into 
any  abyss  of  iniquity  when  I  felt  the  sting  of  your 
revenge.  You  insulted  publicly  the  woman  who 
had  wronged  you;  that  killed  her  at  once,  socially, 
in  our  circle  and  in  hers.  I  don't  deny  you  were 
right  in  that.  I  merely  state  that  I  was  forced 
into  the  company  of  the  woman  whom  I  felt  I  had 
dishonored.  I  was  doubtless  entirely  wrong,  I  was 
probably  acting  according  to  a  false  code  of  honor. 
But  my  sin,  that  you  had  made  public,  bound  me  to 
my  accomplice,  out  of  common  humanity,  ordinary 
decency.— -God  knows  I  don't  want  to  violate  the 
memory  of  one  who  is  dead,  and  who  bore  my  name ! 
Yet  I  must  tell  you,  I  was  forced  into  that  marriage, 
as  a  sort  of  reparation  for  what  I  had  done.  And 
that  is  how,  after  my  little  fling,  I  was  dragged 
on  and  on,  regretting  your  loss  more  and  more. 

MARIANNE 

[Tearfully.]  When  I  first  learned  of  your  mis- 
conduct, you  should  have  done  everything  to  calm 
me,  to  regain  my  affection ! 


ACT  III]  THE   LABYRINTH  115 

MAX    DE    POOIS 

Do  you  remember  how  you  cast  me  off  and 
wouldn't  listen  to  me?  You  can't  imagine  how 
you  looked  then. — I  actually  believed  that  with  that 
blow  everything  had  come  to  an  end  between  us. 

MARIANNE 

[Grief -stricken.]  You  shouldn't  have  taken  it 
so  to  heart!  You  shouldn't  have  listened  to  that 
outcry  of  my  jealousy,  when  I  felt  that  I  had  lost 
all  confidence  in  you ! 

MAX  DE  POOIS 

What?  Marianne,  if  I  hadn't  implicitly  be- 
lieved your  protestations,  if  I  had  doubted,  or 
tried  harder  to  protect  myself,  if  I  had  cast  my- 
self at  your  feet,  could  you  have  forgiven  me? 

MARIANNE 

How  can  I  tell?  Who  knows  what  might  have 
happened  at  such  a  time?  I  was  wild  with  grief, 
desperate — I  threw  myself  on  that  sofa,  as  if  I 
had  been  shot — 

MAX  DE  POGIS 
God,  what  I  made  you  suffer! 

MARIANNE 

[With  a  look  that  seems  to  penetrate  into  the 
past.]  The  hours  that  night  passed  by  while  I 
lay  in  a  trance.  I  said  to  myself,  "He  will  try  to 
force  the  door!" 


116  THE   LABYRINTH  [Acr  III 

MAX   DE    POGIS 

Marianne,  if  I  had  come,  would  you  have  opened 
it  as  you  did  this  evening? 

MARIANNE 

I  said,  "Would  I  be  so  weak  that  I  could  not 
withstand  his  arguments,  his  entreaties,  his  em- 
braces?"— 

MAX    DE    POGIS 

Marianne ! 

MARIANNE 

A  hundred  times  I  listened,  and  said,  "That  is 
his  voice!" 

MAX    DE    POGIS 

Marianne,  Marianne,  forgive  me! 

MARIANNE 

[Listening  as  if  to  the  past.]  Yes,  I  said,  "At 
last  it  is  he!  What  miracle  will  he  perform?" 

MAX  DE  POGIS 
Marianne ! 

MARIANNE 

"Must  he  not,  as  his  most  sacred  duty,  warm 
my  heart  that  is  frozen  against  him?" 

MAX    DE    POGIS 

Marianne,  forgive  me! 


ACT  III]  THE  LABYRINTH  117 

MARIANNE 

"What  impossible  excuse  can  he  make  to  keep 
me  from  eating  out  my  heart  like  this  to  the  end 
of  my  life!" 
[She  bursts  into  sobs.] 

MAX   DE    POOI8 

Marianne !  I  was  impulsive,  hateful,  but  I  have 
never  loved  anyone  but  you!  Every  thought  of 
love  has  been  for  you,  for  you  alone! 

MARIANNE 

You    lie!     [Coming    back    to    reality.]     Leave 


me!* 

MAX   DE    POGIS 

No,  don't  say  that! 

MARIANNE 

[Going  from  him.]  You  have  carried  me  off  my 
feet!  I'm  not  well!  I  don't  know  what  I'm  say- 
ing! I'm  not  myself! 

MAX  DE  POGIS 

Oh,  yes,  you  are  just  the  same  as  you  were  the 
evening  of  our  marriage,  with  your  hair  down  that 
way,  and  your  shoulders  bare !  You  are  trembling, 
you  know  what  I  want! 


*"You  lie"  is  in  the  original,  the  familiar  form,  "tu 
mens"  but  the  "leave  me"  is  the  formal  "allez-vous  en." 
MAX  continues,  "Our  former  tutoiement  [use  of  the 
familiar  form]  came  to  your  lips." 


118  THE   LABYRINTH  [Acr  III 

MARIANNE 

You  know  I  can  be  nothing  to  you !  Leave  me, 
pity  me !  Don't  torture  me ! 

MAX   DE    POGIS 

No,  Marianne!  Your  grief  is  over.  The  only 
evil  memory  you  had  left  has  been  buried  in  this 
room.  Call  up,  now,  all  the  other  memories  that 
belong  here,  memories  of  love  and  joy,  so  passion- 
ate, so  sweet! 

MARIANNE 

Don't,  I  beg  you,  please ! 

MAX   DE    PO6IS 

Even  if  I  said  nothing,  you  would  still  hear  the 
echo  of  our  kisses  again — 

MARIANNE 

I  don't  want  to  hear — 

MAX   DE    POGIS 

Yes,  yes  you  do !  Listen  to  the  air  vibrate  with 
the  murmurs  of  our  love !  Think  of  our  dear  child, 
of  his  hopes,  of  his  very  life,  which  first  came  into 
being  in  this  very  room ! 

MARIANNE 

How  could  you  leave  me?  Why  did  you  do  it? 
Why  are  you  no  longer  my  husband? 

MAX  DE  POOIS 

During  these  last  days,  when  we  protected  our 
child  from  death,  didn't  you  feel  it  was  our  very 
love  that  we  were  bringing  back  to  life  again? 


ACT  III]  THE   LABYRINTH  119 


MARIANNE 

It's  true,  I  couldn't  resist  the  thought!  Yes,  I 
felt  it. 

MAX    DE    POGIS 

Ah,  I  knew  it!  In  the  great  joy  we  felt  in  the 
recovery  of  the  child,  there  came  the  rebirth  of 
love  to  us.  Don't  struggle  against  it  any  longer. 
I  am  the  father  of  your  little  one,  the  father  who 
agonized  with  you  for  him,  and  fought  with  his 
whole  soul.  To-night,  when  we  are  no  longer 
afraid,  when  we  deserve  happiness,  the  father  is 
brought  again  to  the  mother ! — Take  me !  I  adore 
you — oh,  take  me ! 

MARIANNE 

[Resisting  feebly.]     I  am  yours. 


ACT   IV 

Same  tcene  as  Act  I.  As  the  curtain  rises,  VILARD- 
nrvAL  is  seen  arranging  the  books  in  his 
library. 

VILARD-DUVAL 

[To  his  wife,  who  enters.]  I  just  sent  for  you 
a  moment  ago,  my  dear.  Where  were  you? 

MME.    VILARD-DUVAL 

I  got  anxious,  not  hearing  from  Marianne  to- 
day, and  I  just  said  a  prayer  for  the  child — 

VILARD-DUVAL 

Don't  worry  over  nothing;  Guillaume  left  her  a 
minute  ago.  Here  is  the  letter  he  had  from  his 
wife,  dated  last  night:  [Reading.]  "My  dear 
Guillauine,  the  doctor  has  made  his  last  visit.  All 
danger  is  past." 

MME.    VILARD-DUVAL 

Thank  God! 

VILARD-DUVAL 

[Continuing.]  "...  I  can  leave  Nerange 
without  the  slightest  apprehension,  to-morrow 
morning."  [Speaking.]  This  morning,  that  is. 
[Reading.]  "I  feel  a  great  desire  to  see  you  again. 
Your  Marianne."  Guillaume  actually  ran  to  meet 
her.  Great  fellow!  I  wish  you  could  have  seen 
the  tears  in  his  eyes — you  would  have  been  touched. 
120 


ACT  IV]  THE    LABYRINTH  121 


MME.    VILARD-DUVAL 


I  know  he  loves  Marianne.  Yet  I  couldn't  bring 
myself  to  lay  eyes  on  him  all  the  time  our  little 
grandson  was  sick.  Somehow  it  seemed  to  me  that 
it  was  his  unholy  alliance  with  Marianne  that 
brought  all  this  trouble  on  her, 

VILARD-DUVAL 

I  know  how  you  feel  about  this,  and  I  am  the 
first  to  appreciate  your  efforts  to  preserve  the  peace 
of  our  family.  And  yet  I  am  daring  to  hope  that 
perhaps  a  further  effort — 

MME.    VILARD-DUVAL 

What  are  you  talking  about? 

VILARD-DUVAL 

Convention  has  made  you  receive  your  daughter's 
husband  here,  but  you  have  always  refused  to  go 
to  his  home.  That  is  where  Marianne  is  going 
now,  after  two  terrible  weeks.  Through  her  cour- 
age she  has  given  us  great  joy,  she  brings  us  happi- 
ness. Won't  you  come  with  me,  in  honor  of  her  j  oy- 
ful  home-coming?  [MME.  VILARD-DUVAL  gives  a 
gesture  of  refusal.]  Yes!  As  she  returns  to  her 
home,  you'd  be  the  first  she  would  meet! 

MME.    VILARD-DUVAL 

It  has  been  my  principle  to  see  as  little  as  possi- 
ble of  Marianne's  married  life.  I  shall  never  cross 
the  threshold  of  a  home  that  desecrates  what  I 
hold  sacred. 


123  THE   LABYRINTH  [Acr  IV 

VILARD-DUVAL 

Don't  condemn  it  too  quickly.  Think  over  the 
matter.  I'll  just  put  on  my  coat  and  be  back  in  a 
moment. 

MME.    VILARD-DUVAL 

I  shall  not  go  with  you. 

VILARD-DUVAL 

Think  it  over   from  a  mother's   point  of  view. 
You  have  five  minutes  to  change  your  mind. 
[He  goes  out  through  the  door  at  the  left,  half 
nay  up-stage,] 

MME.    VILARD-DUVAL 

No,  I  won't  go ! 

[She  sits  down  with  a  work  basket  at  her  side; 

turns    her    back    to    MARIANNE,    who    enters 

through  the  upper  door.     MARIANNE,  greatly 

excited,  takes  off  her  hat  in  silence  and  then 

her  traveling  cloak;  MME.  VILARD-DUVAL  turns.] 

You,  my  dear  child !     How  you  look !     How  did 

you  find  the  time  to  come  here? 

MARIANNE 

I  haven't  been  home  yet! 

MME.    VILARD-DUVAL 

M.  Le  Breuil  went  to  meet  you  at  the  train. 
Why  are  you  alone? 

MARIANNE 

I  took  another  train. 


ACT  IV]  THE  LABYRINTH  123 

MME.    VILARD-DUVAL 

[Alarmed.]     Your  boy? 

MARIANNE 

Well,  when  I  left  him. 

MME.    VILARD-DUVAL 

Then  you  are  sick  ? 

MARIANNE 

I  wish  I  were  dead. 

MME.    VILARD-DUVAL 

You  frighten  me — explain  yourself! 

MARIANNE 

You  were  right  when  you  said  that  Max  was 
still  capable  of  loving  me ! 

MME.    VILARD-DUVAL 

And  you  suffer  because  you  love  him  ? 

MARIANNE 

More  than  you  have  any  idea  of ! 

MME.    VILARD-DUVAL 

Poor  child !  When  I  told  you  to  wait  for  him,  I 
had  the  power  of  foresight  that  is  given  by  faith. 
If  you  had  only  listened  to  me,  if  you  had  re- 
mained single,  you  would  now  have  been  ready  to 
return  to  M.  de  Pogis — 

MARIANNE 

Mother,  have  pity  on  me! 


124  THE   LABYRINTH  [Acr  IV 


MME.    VILARD-DUVAL 

Come  here,  dear  child !     Let  me  take  you  in  my 


arms! 


MARIANNE 


[Retreating.]  Don't  kiss  me  until  you  have 
heard  what  I  have  to  say!  I  left  Nerange  with- 
out daring  to  look  my  son  in  the  face ! 

MME.    VILARD-DUVAL 

Oh,  Marianne!     I  think  I — understand! 

MARIANNE 

Yes!  Don't  ask  any  more!  Last  night  Max 
came  to  my  room! 

MME.    VILARD-DUVAL 

With  your  permission? 

MARIANNE 

No! — Yes! — I  don't  know!  There  was  a  time 
when  he  was  absolute  master  of  my  body  and  soul, 
when  he  had  the  right  to  conquer  my  aversions,  to 

overcome  my  shame All  the  powers 

of  resistance  that  women  can  summon  up  I  felt 
leaving  me.  I  felt  an  intoxication,  as  I  used  to; 
I  felt  no  shame  in  giving  myself  to  a  passing 
stranger ! 

MME.    VILARD-DUVAL 

You  are  right — you  were  to  blame  for  disposing 
of  yourself  without  being  honest  enough  to  sever 
your  connection — even  if  it  was  not  a  good  one — 
with  M.  Le  Breuil!  What  I  consider  wrong  in 


Acx  IV]  THE   LABYRINTH  125 

your  conduct  is  your  second  marriage — without  the 
sanction  of  the  Church — that  is  sin ! 
[VILARD-DUVAL  has  come  in;  surprised  at  the  atti- 
tude of  the  women,  he  listens.] 
I  have  always  considered  that  there  was  between 
you  and  M.  de  Pogis  an  inseverable  bond.  I  be- 
lieve in  the  depths  of  my  soul  that  your  only  hus- 
band is  he  who  was  given  you  at  the  foot  of  the 
altar.  I  cannot  condemn  you.  I  refuse  to  con- 
sider your  act  a  disgrace — you  have  merely  be- 
come his  wife  again. 

VILARD-DUVAL 

[Interrupting.]     What's  that? 

MARIANNE 

[To  her  father.]     Were  you  listening? 

VILARD-DUVAL 

[Overcome.]  Poor  child!  You,  my  dear  child ! 
You  did  that? 

MARIANNE 

[To  her  mother.]  There  are  some  confessions 
a  woman  can  make  only  to  her  mother !  Hide  me ! 

MME.    VILARD-DUVAL 

In  so  serious  a  matter  you  must  conceal  nothing 
from  your  father. 

VILARD-DUVAL 

[To  his  wife.]  I  interrupted  just  as  you  were 
doing  her  the  injury  of  condoning  her  wrong-doling. 
What  can  you  mean? 


126  -rHE   LABYRINTH  [Acr  IV 

MME.    VILARD-DUVAL 

[To  her  husband.]  I  have  never  recognized  M. 
Le  Breuil  as  my  son-in-law.  It  is  your  duty  to 
make  amends  for  your  mistake,  and  get  rid  of  him. 

MARIANNE 

But  think,  mother,  what  I  have  to  answer  for  to 
the  man  you  speak  of  so  lightly! 

MME.    VILARD-DUVAL 

[Tenderly,  to  her  daughter.]  Hush!  [To 
VILARD-DUVAL.]  The  only  foundation  of  her  mar- 
riage with  M.  Le  Breuil  is  a  divorce;  dissolve  it 
in  turn  by  a  divorce. 

VILARD-DUVAL 

You're  out  of  your  mind.  Even  if  Guillaume 
agreed  to  it,  Marianne  could  not  again  be  known 
as  Mme.  de  Pogis;  she  must  become  a  widow.  It 
is  against  the  law  to  marry  the  first  husband  after 
a  new  divorce. 

MME.    VILARD-DUVAL 

Then — Marianne's  situation  is  hopeless!  If  you 
see  a  clear  way,  any  possible  way,  out  for  her,  tell 
us ! 

VILARD-DUVAL 

[To  MARIANNE.]  Listen,  my  dear:  your  mother 
forced  me  to  interfere  in  a  matter  in  which  I  wish 
I  could  have  spared  you  pain  by  keeping  silence. 
But,  as  I  have  begun,  let  us  continue,  shall  we? 


ACT  IV]  THE   LABYRINTH  127 


MARIANNE 


Oh,  I  have  fallen  so  low! — I  feel  so  humiliated 
in  discussing  it  with  you, — I  can't  stand  anything 
but  your  trying  to  help  me ! 


VILARD-DUVAL 


[Authoritatively.]  You  were  carried  away  in  a 
moment  of  madness.  You  have  just  learned  that 
your  first  husband  cannot  legitimatize  your  union 
with  him.  I  shall  not  insult  you  by  supposing  that 
you  would  continue  your  secret  relations  with  him. 


MARIANNE 


Oh,  no!  I  shall  not  do  that;  I  could  never  live 
in  such  an  impossible  position !  I  shall  not  see  M. 
de  Pogis  again. 


MME.    VILARD-DUVAL 


[To  MARIANNE.]  You're  mistaken;  in  the  first 
excitement  of  victory,  he  will  follow  you! — Con- 
fess, you  love  him.  You  love  one  another.  Take 
my  word  for  it,  he  will  follow  you! 


MARIANNE 

I  have  thought  of  a  way — a  few  hours  ago — that 
is  always  ready,  of  escaping  such  infamy. — I  have 
already  come  near  killing  myself. 

VILARD-DUVAL 

Oh! 

MME.    VILARD-DUVAL 

You  must  put  away  that  horrible  thought !  Com- 
ing from  you,  it  terrifies  me ! 


128  THE   LABYRINTH  [Acr  IV 

VILARD-DUVAL 

You  have  a  child,  Marianne.     Never  forget  that. 
It  is  your  duty  above  all  else  to  live  for  him. 


MARIANNE 

Dear  little  one!  The  thought  of  him  came  to 
me — Oh,  forgive  me,  both  of  you!  The  thought 
of  him  was  the  only  thing  that  prevented  me  from 
throwing  myself  under  the  wheels  of  the  train ! 

MME.    VILARD-DUVAL 

[To  her  husband.]  Did  you  hear  that?  Do 
you  realize  that  so  long  as  Marianne  is  in  this 
frightful  dilemma  we  are  on  the  brink  of  a  catas- 
trophe, so  long  as  she  struggles  against  a  love  that 
attracts  her,  a  love  that  has  rights  and  duties  for 
her! 

VILARD-DUVAL 

[To  MARIANNE.]  I  tell  you  your  only  duty  is 
to  atone  for  your  wrong  against  Guillaume;  he 
only  has  claims  on  you. 

MARIANNE 

I  am  so  confused,  I  can  only  think  of  one  thing; 
my  unfaithfulness  to  Guillaume. 

VILARD-DUVAL 

We  must  plan  at  once  what  you  are  to  do  when 
you  see  him. 

MARIANNE 

[Terrified.]     But  I  came  here  to  avoid  him! 


ACT  IV]  THE   LABYRINTH  129 

VILARD-DUVAL 

He  went  to  meet  you.  He  will  come  to  ask 
where  you  are. 

MARIANNE 

[As  above.]    That's  true! 

VILARD-DUVAL 

At  any  moment  he  will  be  here  in  this  house. 

MARIANNE 

[As  above.]     Oh! 

VILARD-DUVAL 

He  will  think  it  strange  that  you  did  not  return 
at  first,  after  your  long  absence,  to  your  own  home. 

MARIANNE 

[Starting  to  go.]  My  own  home! — With  him! 
No,  no;  don't  ask  me  to  do  that!  Not  that! 

MME.    VILARD-DUVAL 

You  see  she  is  physically  unable. 

MARIANNE 

Oh,  I  have  sunk  so  low! 

VILARD-DUVAL 

If  your  husband  should  find  out  the  truth, 
wouldn't  you  have  pity  on  his  despair?  You  must 
appear  calm,  and  keep  his  peace  of  mind! 


130  THE   LABYRINTH  [Acr  IV 

MARIANNE 

To  keep  him  from  suffering  I  would  willingly 
lay  down  my  life;  I  was  ready  to  a  few  hours  ago. 
I  should  protest  and  tell  you  what  inspires  me,  if 
any  words  of  respect  and  affection  did  not  at  this 
moment,  and  on  my  lips,  sound  terribly  ironical. 
Yes,  so  long  as  I  was  faithful  to  Guillaume  his 
love  was  my  happiness.  But  now,  I  should  be  afraid 
of  the  approach  of  his  love.  I  simply  cannot  de- 
mand mock  respect  for  myself.  I  can't  bring  my- 
self to  being  handed  from  one  man  to  another !  No, 
no,  not  that!  I  can't!  I  can't  bear  it! — 

MME.    VILARD-DUVAL 

[To  her  husband.]     Let  her  be!     Only  a  woman 
can  see  that  she  is  revolted  at  the  idea,  from  the 
bottom  of  her  soul ! 
[A    bell   rings.     M.   and  MME.   VILARD-DUVAL  and 

MARIANNE  look  up,  and  exchange  glances  of 

tragic  anxiety.] 

VILARD-DUVAL 

[To  his  wife.]     You  weren't  expecting  anyone? 

MME.    VILARD-DUVAL 

No. 

VILARD-DUVAL 

[Looking  at  the  door.]  He's  just  had  time.  It's 
Guillaume. 

MARIANNE 

Oh! 

MME.    VILARD-DUVAL 

Keep  him  waiting ;  say  that  Marianne  is  not  here. 


ACT  IV]  THE   LABYRINTH  131 

MARIANNE 

But  think  of  the  concierge  who  was  so  glad  to 
see  me!  And  the  valet  who  opened  the  door  for 
me!  Guillaume  can't  help  knowing  that  I'm  here. 

MME.    VILARD-DUVAL 

[Hurrying  her  husband.]  Keep  him!  Gain  a 
little  time.  [To  MARIANNE.]  Go  to  my  room! 

VILARD-DUVAL 

That's  right!     [To  MARIANNE.]     Hurry. 
[He  leaves  the  room,  up-stage.] 

MARIANNE 

To  have  to  hide  myself  like  this,  and  run  from 
room  to  room !  No !  I  refused  to  return  to  Guil- 
laume's  home  because  I  didn't  want  to  conceal  any- 
thing from  him;  that  would  have  been  defiance. 
But  here  in  your  house,  I  am  not  base  enough  to 
run  away  from  him. 

MME.    VILARD-DUVAL 

It  was  he  who  just  came  in;  your  father  hasn't 
returned  to  let  us  know. — What  are  you  going  to 
say  to  him? 

MARIANNE 

What  I  must,  what  I  ought ! — I  haven't  thought ! 

MME.    VILARD-DUVAL 

Be  careful!  Your  hands  are  ice-cold;  you — 
you're  not  yourself ! — You're  going  to  do  something 
you'll  regret — 


132  THE   LABYRINTH  [Acr  IV 

MARIANNE 

I  shall  never  be  so  composed  as  the  moment  I 
meet  Guillaume.  Why  keep  back  the  inevitable  ? 

MME.    VILARD-DUVAL 

Perhaps  I  can  find  a  way  to  prepare  the  first 
shock,  then ;  for  my  sake,  go,  please ! — 

MARIANNE 

All  right.     I'll  wait. 

MME.    VILARD-DUVAL 

Hurry ! 

MARIANNE 

[At  the  door  to  the  left,  half-way  up-stage.]   I'll 
wait. 
[She  goes  out.] 

GUILLAUME   LE    BREUIL 

[Entering  with  VILARD-DUVAL  at  the  back; 
briefly.]  Good  morning,  Madame. — Where  is 
Marianne  ? 

VILARD-DUVAL 

[To  his  wife.]  I  told  Guillaume  how  shaken  up 
and  nervous  she  was  when  she  arrived. 

MME.    VILARD-DUVAL 

[To  GUILLAUME.]  Oh,  yes ;  she  must  have  abso- 
lute silence,  perfect  rest. 

GUILLAUME    LE    BREUIL 

Seeing  me  cannot  do  her  any  harm,  can  it? 


ACT  IV]  THE    LABYRINTH  133 

MME.    VILARD-DUVAL 

Nobody  must  go  near  her;  nobody. 

GUILLAUME    LE    BREUIL 

Pardon  me,  but  you  must  let  me  be  the  judge  in 
that  case.  You  make  me  very  nervous. 

VILARD-DUVAL 

No  need  for  worry!  She'll  be  well  soon.  The 
strain  of  the  little  boy's  sickness  has  overexcited 
her.  It  came  near  being  delirium.  She  just  needs 
time  to  calm  down — 

MME.    VILARD-DUVAL 

Yes,  to  calm  down ! 

GUILLAUME    LE    BREUIL 

You  only  make  me  more  nervous ;  what  you  say 
irritates  me — I  feel  something  mysterious  in  the 
air — 

VILARD-DUVAL 

What  are  you  looking  for? 

GUILLAUME    LE    BREUIL 

Nothing.     I  want  to  see  my  wife. 

VILARD-DUVAL 

It  is  our  duty  to  prevent  you. 

MME.    VILARD-DUVAL 

Certainly ! 


134  THE   LABYRINTH  [Acr  IV 

OUILLAUME    LE    BREUIL 

Very  well,  I  demand! — I  must  see  my  wife! 
[Taking  a  step  forward.] 

VILARD-DUVAL 

Not  another  step ! 

MME.    VILARD-DUVAL 

Let  me  speak  to  him.  [To  OUILLAUME.]  I  have 
determined  to  say  something  you  must  listen  to. 
I  am  not  authorized  by  Marianne;  I  say  it  on 
my  own  responsibility.  You  know  that  only  a  few 
hours  ago,  she  had  reason  to  believe  that  she  might 
lose  her  son.  She  must  have  heard  my  voice  again, 
telling  her  again,  as  always,  that  her  connection 
with  you  threatened  some  terrible  punishment 
Well,  the  child  recovered.  But,  in  exchange,  this 
impious  union  is  dead;  Marianne  can  no  longer 
consider  herself  your  wife, 

GUILLAUME    LE    BREUIL 

[Incredulous.]     She  wishes  it? 

MME.    VILARD-DUVAL 

Believe  me,  for  I  have  strengthened  her  resolu- 
tion. You  must  think  of  Marianne  as  separated 
from  you  by  the  power  of  a  vow. 

GUILLAUME    LE    BREUIL 

Impossible !  She  would  have  let  me  know  some- 
thing of  so  drastic  a  step!  How  was  it  that  she 
wrote  me  only  yesterday  so  joyfully  about  her  re- 
turn? 


ACT  IV]       (         THE    LABYRINTH  135 

MME.    VILARD-DUVAL 

You  see,  however,  that  she  came  here — to  ask  for 
advice.  And  her  father  and  I,  seeing  how  ill  she 
looked,  would  not  let  her  see  you. 

GUILLAUME    LE    BREUIL 

Oh,  no!  If  Marianne,  for  her  part,  has  de- 
cided to  dispose  of  us  both,  I  insist  on  having  some- 
thing to  say  in  the  matter,  at  once. 

VILARD-DUVAL 

Don't  be  in  so  great  a  hurry ! 

GUILLAUME    LE    BREUIL 

Ask  my  wife  to  come  here! 

MME.    VILARD-DUVAL 

No,  you  come  back  in  a  few  hours — 

GUILLAUME    LE    BREUIL 

[Again  stepping  forward.]  Either  she  comes 
here,  or  I'll  go  to  her! 

VILARD-DUVAL 

Oh! 

MME.    VILARD-DUVAL 

[Stopping  GUILLAUME.]  No,  don't  you  go!  I 
shall  bring  her  here. 

[She  goes  out  the  same  door  through  which  MAR- 
IANNE went.] 

VILARD-DUVAL 

It  is  my  belief  that  Marianne  has  something  on 
her  conscience,  but  that  it's  not  very  serious.  Don't 


136  THE    LABYRINTH  [Acr  IV 

start  any  heated  argument  and  have  her  begin  to 
tell  you  a  heap  of  impossible  things.  Treat  her 
as  a  patient,  humor  her,  tell  her  that  she  will  be 
perfectly  well  in  a  few  days.  This  time,  cut  short 
the  conversation. 

GUILLAUME    LE    BREUIL 

And  afterward? 

VILARD-DUVAL 

My  wife  and  I  intend  to  go  to  Dauphine,  so  that 
the  child's  condition  shan't  give  us  cause  for  worry. 
We  take  Marianne  with  us  at  once.  Give  us  a 
week,  and  I  feel  sure  I  can  bring  her  back  to  rea- 
son, and  make  her  do  what  is  best  for  your  interest 
and  ours. 

GUILLAUME    LE    BREUIL 

Your  affection  makes  me  confident.  I  have  no 
other  object  in  life  but  my  wife,  her  health,  and 
what  is  best  for  her.  I  shall  do  what  is  right,  the 
moment  she  tells  me  what  she  wants,  what  she — 
[Enter  MME.  VILARD-DUVAL.] 

MME.    VILARD-DUVAL 

[To    GUILLAUME.]      Marianne   is    coming.      [To 
her  husband.]      She  wants  to  be  left  alone  with 
him. 
[She  goes  to  the  lower  door  at  the  left.] 

VILARD-DUVAL 

Oh,   very   well.      [To    GUILLAUME.]      Remember 
what  I  told  you. 
[He  follows  his  wife  out — MARIANNE  appears,] 


ACT  IV]  THE    LABYRINTH  137 

GUILLAUME    LE    BREUIL 

At  last,  Marianne!  It's  you  I  see,  at  any  rate, 
even  if  you  have  changed  toward  me ! 

MARIANNE 

Yes,  it's  I;  you  wanted  to  see  me! 

GUILLAUME    LE    BREUIL 

Is  it  true  that  you  have  sworn  some  oath,  some- 
thing sacred,  that  puts  me  out  of  your  life? 

MARIANNE 

Not  that. 

GUILLAUME    LE    BREUIL 

Why  did  your  mother  pretend  you  had? 

MARIANNE 

She  thought  she  was  doing  right. 

GUILLAUME    LE    BREUIL 

Well,  what  is  it?  [MARIANNE  tries  to  speak,  but 
cannot.]  If  you  cannot  speak,  suppose  I  help 
you? 

MARIANNE 

If  you  wish. 

GUILLAUME    LE    BREUIL 

Will  you  answer  truthfully  everything  I  ask? 

MARIANNE 

Everything. 


138  THE   LABYRINTH  [Acr  IV 

OUILLAUME    LE    BREUIL 

Your  trouble  has  nothing  to  do  with  your  son's 
illness.  It  comes  from  the  man  you  have  seen 
again  ? 

MARIANNE 

Yes,  from  him. 

OUILLAUME    LE    BREUIL 

Something  has  come  to  trouble  you,  to  recall 
your  past  life,  while  you  were  there  with  your 
former  husband.  He  understood  that,  didn't  he? 

MARIANNE 

Yes. 

OUILLAUME    LE    BREUIL 

He  took  pleasure  in  blowing  on  the  embers  ? 

MARIANNE 

That  is  possible! 

OUILLAUME    LE    BREUIL 

[Violently.]  Oh! — That  thought  came  to  me, 
while  you  were  left  to  yourself  in  such  an  unusual 
position !  Understand  me,  you  are  one  of  those 
women  whose  actions  a  man  can  never  suspect! — 
But  I  saw  you — in  spite  of  the  mere  external  polite- 
ness accorded  you — I  saw  you  receiving  one  of  those 
looks  that  a  man  gives  to  a  woman  who  has  once 
been  his — wait;  one  night,  six  or  seven  months  ago 
at  the  theater,  M.  de  Pogis  was  in  a  box — you 
didn't  know  he  was  there — I  saw  his  eyes,  just  as 
they  were  fixed  on  you.  I  can't  tell  you  how  I 


ACT  IV]  THE   LABYRINTH  139 

felt! — Incessantly  during  these  last  two  weeks  I 
could  see  those  same  eyes  looking  at  you,  with  the 
same  meaning  in  them.  I  was  jealous  of  your  first 
husband;  I  saw  red,  I  was  blinded! 

MARIANNE 

[Terrified.]     Oh! 

GUILLAUME    LE    BREUIL 

You  left,  then,  sooner  than  you  intended.  Why  ? 
Was  it  to  avoid  anything  further? 

MARIANNE 

I  don't  say  that ! 

GUILLAUME    LE    BREUIL 

You  promised  to  answer  everything. 

MARIANNE 

[Nearly  exhausted.]  I  have  answered  so  many 
questions  already.  You  are  torturing  me! — Oh, 
don't  imagine  too  much  evil  in  what  I'm  going  to 
tell  you! — If  I  am  overwrought,  nervous,  it's  be- 
cause I  am  a  woman !  I  can't  help  shuddering 
when  you  go  so  deep  into  my  inmost  thoughts  and 
feelings  and  bring  them  to  light!  Don't  ask  me 
anything  more!  Stop! — Let  me  go! 

GUILLAUME    LE    BREUIL 

Of  course,  when  you  ask  like  that.  If  you  came 
back  earlier  because  of  something  disagreeable  that 
you  don't  wish  to  talk  about,  let  us  drop  the  sub- 
ject. [Trying  to  smile.]  The  important  point  is 
that  you  are  now  safe  from  the  influences,  even  the 


140  THE   LABYRINTH  [Acr  IV 

attempts,  that  might  have  changed  you  entirely.  As 
you  say,  your  nervousness  has  no  foundation — Or, 
well  what?  What  do  you  want  me  to  think? 
[Attempting  to  conceal  his  anguish  under  an  ap- 
pearance of  jocularity.]  That  you  have  come  back 
because  of  a  feeling  of  regret?  Have  you  come 
to  me  from  a  sense  of  duty?  Are  you  sorry  you 
are  not  the  mistress  of  that  chateau?  Don't  you — 
love  me  any  longer? 

MARIANNE 

I  have  never  felt  for  you,  Guillaume,  more  than 
at  this  moment. 

GUILLAUME    LE    BREUIL 

My  dearest,  you  make  me  profoundly  happy.  I 
needed  that  assurance.  Now,  I  shall  see  that  you 
forget  all  these  phantoms  of  your  imagination.  Your 
parents  offered  to  take  care  of  you  for  a  little 
while.  But,  for  your  good,  no  one  can  take  such 
care  of  you  as  I,  your  husband,  I,  your  lover — 

MARIANNE 

[Terrified  again.]  You're  not  going  to  take  me 
away,  I — 

OUILLAUME    LE    BREUIL 

Yes,  to  our  home ! 

MARIANNE 

Oh,  Guillaume ! 

GUILLAUME    LE    BREUIL 

Our  home !  How  much  those  two  words  express ! 
What  impatience,  love — ! 


ACT  IV]  THE   LABYRINTH  141 

MARIANNE 

[Seeing  him  come  toward  her.]     What  do  you 
want  ? 

GUILLAUME    LE    BREUIL 

To  kiss  you! 

MARIANNE 

Don't  touch  me! — Don't  force  me! 

GUILLAUME    LE    BREUIL 

[Embracing  her.]     You  know  I  have  always  a 
little  of  the  brute  in  me,  even  with  you! 

MARIANNE 

[Begging.]      Leave  me! 

GUILLAUME    LE    BREUIL 

Just  a  kiss! 

MARIANNE 

[Desperately  resisting.]     You  mustn't! 

GUILLAUME    LE    BREUIL 

Only  one!     A  real  one! 

MARIANNE 

No,  no! 

GUILLAUME    LE    BREUIL 

Now  I  have  you! 


142  THE   LABYRINTH  [Acr  IV 


MARIANNE 


[Putting  her  hand  over  his  lips.]  No — not  with 
your  lips !  [But,  as  GUILLAUME  has  taken  her 
hands  in  his,  she  can  only  prevent  him  by  crying 
out.]  I  was  his! 


GUILLAUME    LE    BREUIL 


[Stepping  back  with  a   wild  guttural  exclama- 
tion.]     What? 


MARIANNE 


I  can't  stand  it  any  longer!  I  have  been  un- 
faithful to  you !  Do  what  you  want  with  me !  Kill 
me! 


GUILLAUME    LE    BREUIL 


You — you — tell  me  it  was  a  trap ! — Not  of  your 
own  free  will? 


MARIANNE 


There  was  no  forethought.     I  didn't  wish  it! — 
It  was  Fate! 


GUILLAUME    LE    BREUIL 


In  throwing  yourself  on  that  man's  mercy,  did 
you  know  you  loved  him? 


MARIANNE 


No,    I    didn't!     I    can't    explain    anything!     I 
don't  know,  I  don't  know ! — 


GUILLAUME    LE    BREUIL 


You  say  you  were  caught  in  a  moment  of  mad- 
ness, like  a  beast — ? 


ACT  IV]  THE   LABYRINTH  143 


MARIANNE 


Torture   me!     Yes!     Spit  your   disgust  in   my 
face — kill  me  with  shame! 


GUILLAUME    LE    BREUIL 


[Relenting  a  moment.]      The  shame  is  mine,  to 
be  such  a  coward  as  to  cry! 


MARIANNE 


Oh,  I  could  bear  your  defiance,  but  not  your 
tears. 

GUILLAUME    LE    BREUIL 

[Recovering.]      Calm  yourself;  it's  all  right  now. 
My  vengeance  is  elsewhere. 
[He  starts  to  leave.] 

MARIANNE 

[Stopping  him.]     Where  are  you  going? 

GUILLAUME    LE    BREUIL 

To  find  M.  de  Pogis. 

MARIANNE 

I  was  the  only  one  who  owed  duties  to  you. 
Don't  make  him  responsible. 

GUILLAUME    LE    BREUIL 

Are  you  afraid  for  him? 

MARIANNE 

I  don't  want  both  of  you  to  suffer  through  my 
wrongdoing. 


144  THE    LABYRINTH  [Acr  IV 

GUILLAUME    LE    BREUIL 

We  shall  not  fight.  I  was  calm  now  only  to 
please  you;  now  I  am  no  longer  accountable*  for 
what  I  do.  I  am  going  to  kill  M.  de  Pogis! 

MARIANNE 

You  shall  not  leave  here  with  that  threat  on 
your  lips! 

GUILLAUME    LE    BREUIL 

Come,  I  have  a  long  way  before  me;  let  me  go. 

MARIANNE 

[Holding  him  as  he  drags  her  along  on  her 
knees.]  Trample  on  me,  but  I  will  hold  you  back! 

GUILLAUME    LE    BREUIL 

[Twisting  her  wrists  and  forcing  her  to  loosen 
her  grasp.]  You  force  me  to  hurt  you. 

MARIANNE 

[Letting  go  with  a  cry  of  pain.]      Oh! 

GUILLAUME    LE    BREUIL 

[Leaving   her  on   her   knees.]     Goodbye.      [He 
goes  out  through  the  upper  entrance.] 
[MARIANNE    rises,  sobbing,  and   runs    to   the   door 
through  which  GUILLAUME  has  gone.     At  this 
moment  M.  and  MME.  VILARD-DUVAL,  who  have 
heard    MARIANNE'S    last    cry,    enter    in    great 
haste.     Hearing  them,  MARIANNE  stops,  stand- 
ing near  the  door.] 


ACT  IV]  THE   LABYRINTH  145 

MME.    VILARD-DUVAL 

[Entering  first;  horrified  at  MARIANNE'S  appear- 
ance.]    Oh,  God! 

MARIANNE 

[Pointing  to  the  door.]     Stop  him! 

VILARD-DUVAL 

[Taking  MARIANNE  in   his  arms.]       Tell  us! — 
We'll  make  it  right.     Tell  us ! 

MME.    VILARD-DUVAL 

My  poor  girl!     My  poor  child! 

MARIANNE 

[Choked    with    horror,    crying    spasmodically.] 
Stop  him!     Stop  him! 


ACT   V 

A  terrace,  with  trees  on  it.  It  is  bounded  up-stage 
by  a  railing,  with  perpendicular  spikes.  At 
the  right,  the  rustic  barrier  is  rounded  into  a 
corbelling;  at  that  side  are  a  table  and  chairs. 
To  the  left  and  right  are  foot-paths.  Down- 
stage to  the  right  is  a  garden  bench.  Down- 
stage to  the  left,  a  table  and  two  rustic  chairs. 
Dead  leaves  strew  the  ground.  Here  and  there 
geraniums  are  set  in  circles  around  certain  of 
the  large  chestnut  trees.  In  the  distance  is 
seen  a  precipitous  stream,  winding  in  and  out 
of  the  hills.  It  is  the  last  of  September,  to- 
ward the  hour  of  sunset. 

At  the  rise  of  the  curtain,  MME.  VILARD-DUVAL  sits 
alone  by  the  table  at  the  left.  Her  work- 
basket  is  by  her  side,  as  she  works.  MARIANNE, 
entering  by  the  path  at  the  left,  joins  her. 

MME.    VILARD-DUVAL 

Well? 

MARIANNE 

Well,  they're  having  a  long  walk !     Louis's  tutor 
has  not  sent  him  home  yet. 

MME.    VILARD-DUVAL 

They  took  the  plant  collection  with  them,  and  the 
butterfly  net.     That's  what  has  taken  them  farther 
off  than  you  would  have  liked,  to  the  hillside.     But 
146 


ACT  V]  THE    LABYRINTH  147 

the  little  fellow  is  in  fine  condition  for  walking.  I 
brought  him  back  from  our  trip  as  healthy  as 
could  be. 

MARIANNE 

But  it's  September! — The  sun  has  just  set,  and 
the  mists  are  beginning  to  rise  from  the  Rhone. 

MME.    VILARD-DUVAL 

Your  father  has  gone  to  tell  them  to  hurry  up. 

MARIANNE 

I  hope  nothing  has  happened  to  them! 

MME.    VILARD-DUVAL 

Of  course  not! 

MARIANNE 

I'm  afraid  of  everything  now;  I'm  nervous  every 
moment. 

MME.    VILARD-DUVAL 

I,  too,  my  dear,  have  just  learned  what  it  is  to 
be  so  apprehensive,  to  be  on  the  alert  all  the  time. 
I  felt  it  ten  days  ago,  when  I  went  ahead  of  M. 
Le  Breuil  to  the  chateau  of  Nerange.  What  an 
awful  sensation  it  was  when  M.  de  Pogis  obstinately 
refused  to  escape  from  the  danger  that  threatened 
him! 

MARIANNE 

And  I  was  the  cause  of  his  murderous  intentions. 


148  THE   LABYRINTH  [Acr  V 

MME.    VILARD-DUVAL 

How  could  I  have  persuaded  a  man  of  undoubted 
bravery  to  seek  refuge  in  flight,  to  leave  his  home 
surreptitiously?  Oh,  little  good  it  seemed  for  me 
to  tell  him  he  must  avoid  bringing  the  most  dis- 
graceful scandal  on  your  name,  and  to  pit  myself 
against  all  the  time-honored  and  deep-rooted  mas- 
culine prejudices!  Nothing  short  of  a  miracle 
made  him  go.  It  was  another  miracle,  too,  that 
M.  de  Pogis  in  leaving  the  chateau  almost  too  late 
avoided  meeting  M.  Le  Breuil! — Marianne,  you 
should  see  that  Providence  has  a  hand  in  this ! — 
you  may  breathe  freely,  now  that  this  terrible  catas- 
trophe has  been  averted,  since  Max  has  disap- 
peared— 

MARIANNE 

Disappeared ! — Shall  I  tell  you  where  he  is  ?  He 
is  on  the  other  bank  [Pointing  to  the  place]  — 
stopping  at  an  inn  there. 

MME.    VILARD-DUVAL 

What  did  you  say? 

MARIANNE 

Yes,  thanks  to  the  conversations  you  had  with 
him,  he  knew  just  where  to  find  me! 

MME.    VILARD-DUVAL 

Has  he  been  here? 

MARIANNE 

No! — Fortunately,  he  will  keep  away  from  me 
until  I  give  him  permission  to  come.  But  every 


ACT  V]  THE   LABYRINTH  149 

day  I  get  a  letter  from  him,  filled  with  his  prayers 
and  supplications.  He  uses  for  messenger  a  little 
fellow  who  lives  around  here,  and  who  finds  ways 
of  meeting  me,  right  here  in  the  park.  Only  this 
morning,  I  did  not  want  to  open  the  letter  in  which 
he  asked  me  to  meet  him.  But,  as  usual,  I  was 
afraid  that  perhaps  it  might  contain  some  insane 
plan,  something  I  should  have  to  prevent  at  once ! 
For  that  reason,  I  always  read  the  letters.  But  I 
never  answer! 

MME.    VILARD-DUVAL 

Why   didn't  you  tell  me  about  this? 

MARIANNE 

Oh,  why  did  I  tell  you  now? — I  was  impatient 
when  you  told  me  to  rest  assured  that  I  could  draw 
a  free  breath.  Don't  be  surprised  that  I  have  for 
some  time  kept  this  hidden  from  you.  I  tried  to 
keep  my  shame  from  you,  buried  in  silence.  At 
least,  I  don't  want  to  read  in  my  father's  eyes  that 
you  have  spoken  to  him  again  of  these  matters ! 
Don't  tell  him,  promise  me,  that  Max  is  so  near? 

MME.    VILARD-DUVAL 

Just  as  you  like. — But  since  you  told  me  one 
secret  unwillingly,  perhaps  you  have  another? 
Since  that  scene  with  Guillaume,  have  you  really 
heard  nothing  from  him? 

MARIANNE 

No,  nothing! 

MME.    VILARD-DUVAL 

It  has  been  more  than  a  whole  week  since  he 


150  THE   LABYRINTH  [Acr  v 

started  off  in  pursuit  of  Max!     What  can  he  be 
planning?     What  has  become  of  him? 
[VILARD-DUVAL  enter s  by  one  of  the  paths  on  the 
right.] 

MARIANNE 

Have  you  come  back  without  Louis,  father? 

VILARD-DUVAL 

Don't  alarm  yourself.  The  farmer,  here,  met 
your  boy  and  his  tutor  in  the  fields  only  a  short 
time  ago;  they  were  bringing  home  a  great  heap 
of  wild  flowers.  But  they  have  to  walk  slowly, 
because  the  aged  professor  gets  out  of  breath — 

MARIANNE 

I  never  heard  of  such  a  thing 

VILARD-DUVAL 

I  would  have  gone  to  get  the  stragglers  where 
I  was  told  they  were,  only  I  met  someone  and  was 
detained — 

MARIANNE 

Met  whom? 

VILARD-DUVAL 

Guillaume. 

MARIANNE 

Guillaume ! 

MME.    VILARD-DUVAL 

Then  he,  too,  is  in  this  part  of  the  country! 


ACT  V]  THE   LABYRINTH  151 

MARIANNE 

How  long  has  he  been  here? 

VILARD-DUVAL 

He  just  came;  he  doesn't  know  this  house.     He 
was  trying  to  find  the  door. 

MARIANNE 

What  does  he  want? 

VILARD-DUVAL 

He  wants  to  speak  with  you. 

MARIANNE 

I  thought  we  had  nothing  more  to  say  to  one 
another ! 

MME.    VILARD-DUVAL 

What  reason  did  he  give  in  coining? 

VILARD-DUVAL 

I  didn't  ask.     1  didn't  think  I  had  the  right  to 
open  that  wound  again. 

MME.    VILARD-DUVAL 

How  does  he  look? 

VILARD-DUVAL 

Bad.     He  keeps  turning  his  eyes  as  if  he  were 
trying  to  conceal  how  much  he  had  been  crying. 

MARIANNE 

[Deeply  moved.]     Oh! — 


153  THE    LABYRINTH  [Acr  V 

VILARD-DUVAL 

[To  MARIANNE.]  Tell  me  what  answer  I  shall 
give. 

MARIANNE 

It  would  be  too  pitiful  for  me  to  see  him. 

MME.    VILARD-DUVAL 

You  must  see  him  at  once,  or  he  might  keep 
wandering  about  here. 

MARIANNE 

[To  her  mother.]  You're  right!  [To  her 
father.]  Let  him  come. 

VILARD-DUVAL 

Good! — I'll  take  him  into  the  house. 

MARIANNE 

Oh,  no ! — There  is  no  use  arousing  the  curiosity 
of  the  servants  and  starting  them  to  gossiping.  He 
can  come  in  through  the  little  gate;  it's  near  at 
hand,  right  by  the  terrace. 

MME.    VILARD-DUVAL 

But  it's  almost  night! 

MARIANNE 

For  what  we  have  to  say,  it  will  be  better  for 
us  not  to  see  our  faces  too  plainly. 

MME.    VILARD-DUVAL 

How  can  we  leave  you  so  far  from  the  house, 
at  this  meeting?  I'm  afraid — !  We  could  hardly 
hear  you  at  that  distance,  if  you  called  for  help! 


ACT  V]  THE   LABYRINTH  153 

VILARD-DUVAL 

My  dear,  Guillaume  has  not  come  to  harm  her! 

MARIANNE 

Oh,  mother!  Cowardice  is  the  last  thing  to  ex- 
pect in  such  a  man! 

MME.    VILARD-DUVAL 

I  suppose  I  was  wrong  to  think  such  a  thing. 

VILARD-DUVAL 

[To  MARIANNE.]     Well,  here,  then? 

MARIANNE 

Yes,  here. 
[VILARD-DUVAL  returns  by  the  same  path  he  came.] 

MME.    VILARD-DUVAL 

You  have  only  a  light  shawl  to  keep  you  from 
the  coolness  of  the  evening.  It's  getting  damp. 

MARIANNE 

I  don't  feel  cold! 

MME.    VILARD-DUVAL 

It  will  be  too  late  when  you  do  feel  it.  Here 
by  the  side  of  the  river!  I  tell  you  there's  noth- 
ing imaginary  about  my  fears  this  time.  Come  and 
put  on  a  cloak! 

MARIANNE 

Oh,  never  mind  that! 


154  THE   LABYRINTH  [Acr  V 

MME.    VILARD-DUVAL 

I  must  at  least  prevent  you  from  falling  sick! 
Do  let  me  do  that  for  you,  at  least!  Please! 

MARIANNE 

Poor  mother!     All  right! 

MME.    VILARD-DUVAL 

I'll  pick  up  my  work.     Go  on  ahead,  I'll  follow 
you. 
[MARIANNE  leaves  by  the  path  at  the  right.] 

VILARD-DUVAL 

[Entering,  right,  with  GUILLAUME.]      Here! 

MME.    VILARD-DUVAL 

[To  GUILLAUME.]      I  made  Marianne  put  on  an- 
other wrap;  I'll  send  her  to  you  in  a  moment. 

GUILLAUME    LE    BREUIL 

I'll  wait  for  her. 
[MME.  VILARD-DUVAL  goes  out  to  the  left.] 

VILARD-DUVAL 

Sit  down. 

GUILLAUME    LE    BREUIL 

Thank  you.  You  needn't  trouble  to  keep  me 
company. 

VILARD-DUVAL 

Guillaume,  I  have  not  had  the  opportunity  of 
telling  you  how  glad  I  was  when  I  caught  sight  of 
you.  You  didn't  say  much,  either.  We  both  rec- 


ACT  V]  THE  LABYRINTH  155 

ognize  that  this  is  not  the  moment  for  a  con- 
versation, but  I  should  like  to  have,  before  I  leave 
you  here,  some  assurance  that  will  make  the  interval 
at  least  bearable. — Just  tell  me  whether  you  have 
come  in  an  attitude  of — well — of  conciliation? 

OUILLAUME    LE    BREUIL 

I  wish  I  could  tell  you  where  I  stood,  myself! 
The  strongest  feeling  I  have  now,  I  firmly  believe, 
is  my  love  for  Marianne ! — I  want  to  find  a  sup- 
port in  her  for  what  I  am  going  to  do  in  this 
case.  Don't  ask  me  anything  else ! 

VILARD-DUVAL 

I  know  better  than  to  trouble  you.  I'm  going 
to  keep  Marianne  a  few  minutes.  As  I  am  telling 
her  what  your  intentions  are,  as  I  understand  them, 
I  shall  try  for  the  last  time  to  dissuade  her  from 
what  she  intends. 

GUILLAUME    LE    BREUIL 

[Anxiously.]     Oh! 

VILARD-DUVAL 

I'll  leave  you. 

OUILLAUME    LE    BREUIL 

Very  well. 
[VILARD-DUVAL  goes  out  to  left.] 

GUILLAUME    LE    BREUIL 

[Alone.]  He  seemed  to  say  that  Marianne 
might  perhaps  refuse  to  accept  my  forgiveness ! 
Then  she  will  have  to  tell  me  whether  she  prefers 


156  THE   LABYRINTH  [Acr  V 

to  give  herself  to  the  other!     [Clenching  his  fist.] 

Oh!      [Looking  off  at  right.] — Who's  that? 

[A  YOUNG  PEASANT  comes  in  half  way  up-stage  at 

the  right.     He  does  not  see  GUILLAUME  until 

he  almost  runs  into  him.] 

YOUNG    PEASANT 

[Retreating.]     Oh! 

GUILLAUME    LE    BREUIL 

Did  I  frighten  you,  son? 

YOUNG    PEASANT 

[Trying  to  escape.]     Excuse  me! 

GUILLAUME    LE    BREUIL 

Running  away?  Were  you  prowling  around 
here  ? 

YOUNG    PEASANT 

I  haven't  done  any  hurt. 

GUILLAUME    LE    BREUIL 

[Cutting  off  his  retreat.]  What  were  you  doing 
there?  What  have  you  there  under  your  coat?  It 
looks  like  a  knife! 

YOUNG    PEASANT 

Let  me  go! 

GUILLAUME    LE    BREUIL 

[Seizing  his  hand.]  A  letter!  [He  takes  the 
letter.]  No  address!  That's  what  you  were 
carrying?  To  whom?  Will  you  answer  me? 


ACT  V]  THE   LABYRINTH  157 

YOUNG    PEASANT 

Don't  hurt  me! — I've  got  to  give  this  to  the  per- 
son herself. 

OUILLAUME    LE    BREUIL 

Who? 

YOUNG    PEASANT 

The  young  lady. 

GUILLAUME    LE    BREUIL 

Who  sent  you? 

YOUNG    PEASANT 

< 

The  traveler,  who  just  came  a  little  bit  ago;  he's 
staying  with  my  boss,  on  the  other  bank. 

GUILLAUME    LE    BREUIL 

[Looking  in  the  direction  indicated.]  There! — 
So  he's  there! — [To  the  YOUNG  PEASANT.]  Is  he 
waiting  for  an  answer? 

YOUNG    PEASANT 

No.  He  knows  I  live  in  the  town,  over  here.  I 
don't  cross  again  to-night. 

GUILLAUME    LE    BREUIL 

Is  your  boat  down  there?  [He  points  out  to 
where  a  boat  might  be,  below  them.] 

YOUNG    PEASANT 

Anybody  could  see  you  don't  belong  to  this  part 
of  the  country ! 


158  THE   LABYRINTH  [Acr  V 

GUILLAUME    LE    BREVIL 

What  do  you  mean? 

I 

YOUNG    PEASANT 

I  cast  anchor  a  good  distance  off;  I  crossed  up- 
stream. You  can't  cross  straight  over  along,  'cause 
of  the  rocks  just  under  here.  You've  got  to  have 
a  man's  arms  to  row  over  here. 

GUILLAUME    LE    BREUIL 

Why? 

^         YOUNG    PEASANT 

[Pointing  to  the  chasm.]  You  hear  the  whirl- 
pool? 

GUILLAUME    LE    BREUIL 

[Taking  a  step  back  to  listen.]  Is  that  what 
it  is? 

YOUNG    PEASANT 

Goes  straight  down.  Fall  in  there,  and  they 
never  find  you,  alive  or  dead.  Never  do  find  bodies 
in  that  place! 

GUILLAUME    LE    BREUIL 

Yes? 

YOUNG    PEASANT 

Why,  I  remember  one  time — 

GUILLAUME    LE    BREUIL 

Very  well,  you  may  go ! 


ACT  V]  THE   LABYRINTH  159 

YOUNG    PEASANT 

[Fearfully.]     But  the  letter? 

GUILLAUME    LE    BREUIL 

I'll  take  care  of  it. 

YOUNG    PEASANT 

You  won't  get  me  into  trouble,  will  you? 

GUILLAUME    LE    BREUIL 

[Violently.]  _  Oh,  get  out! 

YOUNG    PEASANT 

[Cowering.]     Certainly,  sir! — Well,  it  ain't  my 
business,  anyhow! 
[He  goes  out,  right.] 

GUILLAUME    LE    BREUIL 

[Alone,  hesitating  a  moment  before  opening  the 
letter.]  Why  not?  [He  tears  open  the  envelope.] 
Oh! — She  has  refused  to  see  him  again!  He  in- 
sists! He  says  he  will  succeed!  [Reading.] 
"There  is  a  way  to  meet  without  compromising  you. 
I  shall  come  at  night-fall  to  that  terrace,  whose 
solitude  we  have  so  often  loved.  I  know  you  will 
wait  for  me  there,  you  will  receive  me,  unless  your 
eyes,  your  will,  your  very  heart  lied  to  me  that 
night  at  Nerange." — He's  coming! — Good! 

MARIANNE 

[Entering  at  the  left.]      I  hear  you. 


160  THE   LABYRINTH  [Acr  V 

GUILLAUME    LE    BREUIL 

After  what  has  passed,  I  thought  I  was  forever 
separated  from  you,  but  I  needed  more  than  the 
inspiration  of  revenge  to  sustain  me.  I  am  worn 
out  with  this  thirst  for  vengeance;  it  is  in  your 
power  this  minute  to  prevent  me  from  carrying  out 
my  threats.  If  you  tell  me  in  the  depths  of  your 
heart  that  you  still  preserve  some  love  for  me,  and 
you  will  take  my  love  in  return — I  am  ready  to 
give  in,  I  shall  be  even  happy  to  accept  the  ex- 
change— tell  me! 

MARIANNE 

Guillaume,  I  was  yours  once  in  good  faith.  I 
was  your  wife;  as  such,  I  had  not  a  single  thought, 
or  dream  or  wish  that  was  not  honorable.  But  be- 
cause formerly  my  conscience  was  clear,  now  I  see 
more  plainly  than  ever  how  impossible  it  is  to  for- 
get what  is  past. 

GUILLAUME    LE    BREUIL 

Nothing  that  I  do  or  say  will  ever  remind  us 
of  that.  I  am  positive,  because  unlike  most  women, 
you  scorned  to  tell  a  lie  and  so  take  advantage  of 
me.  I  shall  keep  you,  and  respect  you,  and  think 
of  you  always  as  one  who  has  given  proof  of  the 
bravest  loyalty.  I  can't  forgive  myself  for  having 
been  so  brutal,  so  cruel,  to  you.  I  ask  you  to  for- 
give me,  as  I  forgive  you.  Let's  forget  every- 
thing ! — Everything ! 

MARIANNE 

Your  forgiveness,  I  believe,  is  absolutely  sin- 
cere ;  I  admire  you  for  your  frankness !  Thank  you ! 


ACT  V]  THE    LABYRINTH  161 

But  I  cannot  forget,  I  never  can  forget!  You  re- 
member how  I  hesitated  the  other  day  before  I 
confessed,  for  fear  of  what  you  might  do  to  me? 
And  then,  only  to  terrify  me  more,  you  took  me 
in  your  arms  and  kissed  me.  And  the  truth  came 
out  in  a  cry  of  agony  only  when  I  felt  that  some- 
thing cold  and  dead  was  at  my  lips,  something  that 
will  always  be  dead  between  us! 

GITILLAUME    LE    BREUIL 

Don't  say  that! 

MARIANNE 

I  tell  you,  don't  ask  for  what  I  cannot  give.  I 
can  never  belong  to  you,  never ! 

GUILLAUME    LE    BREUIL 

Never  ? 

MARIANNE 

[With  a  tone  of  finality.]     Never!     Never! 

GUILLAUME    LE    BREUIL 

Oh!  You  have  perhaps  made  other  plans.  If 
I  don't  spoil  these,  you  expect  to  include  M.  de 
Pogis  in  them? 

MARIANNE 

You  don't  know  me,  Guillaume ! — My  right  to  be 
loved,  my  right  to  your  love,  or  the  love  of  anyone 
else,  I  have  forfeited,  thrown  away,  by  the  strength 
of  what  pride  I  have  left,  and  by  renouncing  abso- 
lutely every  thought,  everything  that  makes  me  a 
woman!  I  have  only  to  do  my  duty  as  a  mother; 
I  must  live  with  my  boy  a  quiet  and  cloistered  exist- 


1G2  THE   LABYRINTH  [Acr  V 

ence.  You  are  so  generous,  you  would  not  object 
to  my  trying  to  redeem  myself  in  this  way?  You 
would  not  prevent  me  by  invoking  our  marriage 
contract? — You  will  let  me  do  this?  Will  you? 

GUILLAUME    LE    BREUIL 

Do  you  think  I  would  go  to  law?  My  love  for 
you  was  what  bound  us  together.  What  hope  I 
had  left  you  destroyed  to-day,  with  unmistakable 
directness.  I  shall  not  force  you  to  take  me  back 
as  your  husband.  So  far  as  I  am  concerned  you 
are  free! 

MARIANNE 

Guillaume,  I  can't  tell  you  how  I  appreciate 
your  goodness — I  am  too — 

GUILLAUME    LE    BREUIL 

But  don't  think  you  have  everything  your  own 
way !  The  moment  you  lose  me  as  a  protector 
against  him,  he  will  consider  you  the  more  legiti- 
mately his  prey.  You  were  speaking  of  retiring 
somewhere  with  your  son?  I  tell  you  the  child  is 
the  bait  that  he  has  already  used,  and  will  use, 
to  lure  you  on,  to  conquer  you! 

MARIANNE 

Oh,  don't  take  away  my  confidence!  I  need  it 
so  badly !  If  the  person  you  are  thinking  of  should 
be  too  importunate,  if  I  felt  he  was  acquiring  too 
great  an  influence  over  me,  I  should  take  the  boy 
away.  I  should  take  him — anywhere,  far  away,  far 
away — to  the  end  of  the  world!  That's  possible, 
isn't  it?  Tell  me,  that  would  be  right,  wouldn't 
it?  His  father  has  cost  me  so  much  sorrow  that 


ACT  V]  THE    LABYRINTH  163 

I  owe  him  nothing  more!     See,  I'm  crying  now. 
I   can't  stop!     Tears  of  anguish,  of   fear — I   am 
afraid  of  him ! 
[She  sobs  violently.] 

GUILLAUME    LE    BREUIL 

How  you  love  him ! — Oh,  yes  you  do !  Yes ! 
Confess  it!  Why  not?  You  needn't  be  ashamed 
with  me ! — You  love  him,  wildly,  heroically !  Tell 
me  you  love  him  and  would  do  anything  for  him! 
Tell  me,  tell  me! 

.     MARIANNE 

Why  do  you  force  me  to  give  you  such  an  an- 
swer? Because  I  want  to  run  away  from  you,  no 
matter  how  I  feel  toward  him? — You're  breaking 
my  heart!  Don't  make  me  suffer  any  more!  I 
am  so  unhappy ! 

GUILLAUME    LE    BREUIL 

[Affected  by  her  tears.]  Oh,  Marianne,  don't 
cry!  Not  like  that!  Don't  wear  yourself  out! 
Please !  There !  Wipe  your  eyes !  Listen ;  the 
day  you  accepted  me  as  your  husband,  I  promised 
you  happiness,  I  promised  that  I  would  lay  down 
my  life  for  you.  It  was  not  in  my  power  to  give 
you  happiness;  it's  clear  that  I  did  not  belong  in 
your  life!  My  existence  is  now  nothing  without 
you !  It's  nothing  to  me ! — Go,  fulfil  your  destiny ; 
at  once,  publicly!  You  are  able  to  now! 

MARIANNE 

What — what  do  you  mean?  What  are  you 
thinking  of?  Do  you  imagine  that  I  could  "fulfil 


164  THE   LABYRINTH  [Acr  V 

my  destiny"  over  your  dead  body  ?  Listen  to  me.  I 
see  only  two  possibilities  for  the  future.  He,  like 
you,  must  respect  and  recognize  my  return  to  the 
home  of  my  parents,  to  the  life  I  lived  as  a  pure 
young  girl.  But  if  I  begin  to  see  that  I  am  drawn 
toward  the  man  who  has  caused  you  so  much  pain, 
my  own  honor  would  drive  me  to  the  other  possi- 
bility; I'd  kill  myself! 

GUILLAUME    LE    BREUIL 

Kill  yourself!  You!  No!  Leave  that  to  the 
others!  It's  too  horrible!  No,  not  you! 

MARIANNE 

I  swear  to  you  that  if  M.  de  Pogis  continues  to 
follow  me  with  the  intention  of  making  me  his,  I 
will  kill  myself ! 

GUILLAUME    LE    BREUIL 

No,  no!  That  face  I  have  so  often  kissed,  that 
body  I  have  loved  so — dead!  Disfigured!  I  can 
stand  anything  but  that!  I  couldn't  bear  to  carry 
that  thought  through  my  life !  Anything  but  that ! 

MARIANNE 

No,  Guillaume,  it  is  better,  nobler,  that  you 
should  leave  without  looking  behind  you,  without  a 
jealous  thought!  I  have  shown  you  only  too  well 
that  I  could  not  lie  to  you.  Don't  you  believe  this 
last  vow? 

GUILLAUME    LE    BREUIL 

I  believe  it  with  all  my  heart  and  soul.  If  noth- 
ing could  prevent  what  you  fear,  I  believe  you 
would  kill  yourself ! 


ACT  V]  THE   LABYRINTH  165 


MARIANNE 


Then  you  won't  have  a  single  jealous  thought  of 
me?     Tell  me! 


GUILLAUME    LE    BREUIL 


I  shall  never  be  jealous  of  you,  Marianne,  I 
promise.  You  may  go !  There's  no  use  prolong- 
ing this  ordeal.  Go,  we  have  said  everything  we 
had  to  say;  it's  time  for  us  to  separate. 


MARIANNE 


Where   are   you   going?     What   are   you  going 
to  do? 


GUILLAUME    LE    BREUIL 


I'm  an   old   wanderer.     I'll   probably  go  on   a 
long  trip,  I  don't  know  where. 


MARIANNE 


You  have  been   everything  to  me;  inspiration, 
hope,  happiness — 

GUILLAUME    LE    BREUIL 

But  not  love ! 

MARIANNE 

My  dear,  my  dear — [She  falls  to  her  knees  be- 
fore him.] 

GUILLAUME    LE    BREUIL 

What  are  you  doing? 


166  THE   LABYRINTH  [Acr  V 

MARIANNE 

Good-bye — oh,  all  you  have  been  for  me !  I  hum- 
bly thank  you!      [She  kisses   his  hands.]     Good- 
bye, good-bye! 
[Sobbing,  she  hurries  off  at  the  left.] 

GUILLAUME    LE    BREUIL 

[Alone.]  Yes,  good-bye!  [Going  toward  the 
precipice.]  My  trip?  Why  not  start  here?  [A 
sound  from  the  right  makes  him  turn  in  that  di- 
rection.] Someone  in  the  bushes? — 

MAX  DE  POOIS 

[Holding  back  some  branches,  appears,  at  the 
right  of  the  corbelling.  Seeing  GUILLAUME,  he 
steps  back.]  You! 

OUILLAUME    LE    BREUIL 

That  is  the  second  time,  Monsieur,  that  you  have 
retreated  from  me. 

MAX  DE  POOIS 

[Recovering.]  I  was  informed  that  it  would 
have  been  dangerous  to  have  been  found  unarmed 
by  a  man  of  your  character.  If  you  have  by  this 
time  recovered  your  sense  of  what  is  customary,  I 
shall  await  your  orders!  Send  me  your  seconds! 

OUILLAUME    LE    BREUIL 

Our  account  can  be  settled  without  the  inter- 
vention of  anyone  else! — You  have  insulted  the 
woman  who  bears  my  name!  It  is  as  a  libertine, 
a  seducer — 


ACT  V]  THE  LABYRINTH  167 

MAX    DE    FOGIS 

I  could  insult  you  too,  if  I  liked! 

GUILLAUME    LE    BREUIL 

You  took  what  you  wanted,  and  you  knew  very 
well  that  when  you  were  through  with  her  you 
would  leave  her — 

MAX  DE  POOIS 

You  don't  know  what  you're  saying.  You're 
talking  like  a  crazy  man! 

GUILLAUME    LE    BREUIL 

In  coming  here  to-night,  you  were  going  to  make 
some  proposal  whereby  she  would  be  able  to  have 
me  as  her  husband,  and  you  have  her  as  your  mis- 
tress ! 

MAX    DE    POGIS 

Do  you  want  me  to  explain?  All  right.  I  was 
going  to  ask  her  to  come  away  with  me,  go  abroad — 

GUILLAUME    LE    BREUIL 

Really! 

MAX    DE    POGIS 

I  was  going  to  tell  her  that  anywhere  outside 
of  France,  we  could  go  as  man  and  wife.  As  long 
as  you  have  the  law  on  your  side,  in  this  country 
you  could  follow  us,  separate  us,  put  us  in  jail — 

GUILLAUME    LE    BREUIL 

Even  kill  you ! 


168  THE    LABYRINTH  [Acr  V 

MAX    DE    POOI8 

Oh! — You  don't  still  intend  to  murder  me,  do 
you? 

OUILLAUME     LK     liHEUIL 

What  do  you  imagine  prevents  me? 

MAX    DE    POGIS 

You  have  had  time  to  consider;  you  can  see  that 
in  a  case  of  this  sort,  you  would  not  appear  in  a 
court  of  law  as  the  conventional  "wronged  hus- 
band."— Your  rights?  The  greater  part  of  our  so- 
ciety would  consider  them  the  rights  of  concubi- 
nage.— My  crime?  I  merely  took  back  my  wife! 

OUILLAUME    LE    BREUIL 

[With  great  reserve.]      Is  that  all? 

MAX    DE    POGIS 

No!  You  wouldn't  look  well  in  the  prisoner's 
dock.  The  legitimate  son  of  the  woman  you  call 
your  own;  her  son,  and  my  son,  might  be  brought 
into  the  trial;  that  son  might  cry  out  for  ven- 
geance against  you,  his  step- father,  his  make-believe 
father — against  the  make-believe  husband !  You 
have  only  to  think  of  so  many  serious  difficulties, 
and  you  come  to  your  senses. 

GUILLAUME    LE    BREUIL 

We  agree  on  one  point.  I  shall  not  appear  in  a 
law  court. 

MAX    DE    POGIS 

[Ironically.]      There! 


ACT  V]  THE   LABYRINTH  169 

GUILLAUME    LE    BREUIL 

This  is  what  I  have  done.  I  just  left  Marianne 
Le  Breuil,  my  wife,  free  to  dispose  of  herself  as 
she  sees  fit.  I  made  her  absolutely  independent 
of  me.  I  shall  never  see  her  again — 

MAX    DE    POOIS 

Just  as  you  like! 

GUILLAUME    LE    BREUIL 

One  moment;  at  the  same  time  she  told  me  that 
she  was  determined  never  to  see  you  again,  never! 

MAX  DE  POOIS 

It  matters  little  to  me  what  she  may  have  prom- 
ised when  she  was  temporarily  under  your  in- 
fluence. 

GUILLAUME    LE    BREUIL 

Of  her  own  accord  she  swore  that  she  would 
never  survive  the  shame  of  belonging  to  you  again ! 
I  have  therefore  taken  it  upon  myself  to  prevent 
the  possibility  of  her  killing  herself  because  of 
you. — You  are  going  to  promise  me — I'll  see  to  it 
that  you  do — to  leave  the  poor  girl  in  peace  for- 
ever. 

MAX  DE  POGIS 

[Fiolently.]  Oh!  I  am  to  accept  your  condi- 
tions !  You  think  I'll  agree ! — You're  crazy ! 

GUILLAUME    LE    BREUIL 

No,  that's  my  last  bit  of  sanity.     Look  out! 


170  THE    LABYRINTH  [Acr  V 


MAX    DE    POGIS 

I  have  only  one  thing  more  to  say:  You  gave 
her  up  because  she  didn't  love  you — 

OUILLAUME    LE    BREUIL 

You  damned — ! 

MAX    DE    POOIS 

I  know  she  loves  me! 

OUILLAUME    LE    BREUIL 

[With   increasing  fury.]      You — ! 

MAX   DE    POGIS 

I  should  never  believe  her !  I'd  come  back 
every  time  she  sent  me  away ! — 

OUILLAUME    LE    BREUIL 

You—! 

MAX    DE    POGIS 

I'll  never  give  up  the  woman  I  love,  and  who 
loves  me!  D'you  hear?  Never! 

GUILLAUME    LE    BREUIL 

You  have  just  pronounced  sentence  on  your- 
self! 

MAX    DE    POOIS 

That  remains  to  be  seen;  a  duel  will  decide  the 
question.  Get  your  seconds;  I'll  get  mine.  A  duel 
to  the  end.  One  of  us  must  go. 


ACT  V]  THE   LABYRINTH  171 

GUILLAUME    LE    BREUIL 

No,  both  of  us! 

MAX   DE    POOI8 

What — what  are  you — ?     Let  me  pass! 

GUILLAUME    LE    BREUIL 

[Preventing   him.]      Not  that  way!      [Pointing 
into  the  chasm.]     There! 

MAX    DE    POGIS 

[Attacking  GUILLAUME.]     Let  me  pass! 

GUILLAUME    LE    BREUIL 

[Grasping    MAX'S    hand    firmly,    as    the    statue 

does.*]      Come  forth,  Don  Juan! 

[There  is  a  quick  struggle.  Under  the  weight  of 
the  men,  the  wooden  railing  gives  way;  MAX 
and  GUILLAUME  fall  down  into  the  chasm. 
The  voice  of  MARIANNE  is  heard  in  the  dis- 
tance, off-stage  to  the  left.] 

MARIANNE 

Louis! — Louis! — [Entering.]      They     say     the 
child  is  looking  for  me  in  the  park.     I  thought  I 
heard  someone  calling  in  this  direction — 
[A    child's    voice    is    heard    off    right :    "Mama ! 
Mama!"] 

It's  he!     My  little  one! 


*  In  Moltere's  "Don  Juan." 


172 


THE   LABYRINTH 


[Acr  V 


LITTLE    LOUIS 

[Carrying  bunches  of  plants.]     Mama!     Mama! 

MARIANNE 

[Gathering  him  in  her  arms.]      Come  here,  my 

life!     My  love! 

[Along  the  edge  of  the  precipice,  belorv  which  are 
the  vast  silence  and  the  peace  of  death,  the 
mother  takes  the  child  toward  the  house,  where 
he,  in  his  turn,  will  grow  into  manhood  and 
work  out  his  destiny.] 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

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A       •""«•»  BIN  HI    I))    II    I    II   I 
001  001  202 


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